Published Editions and Anthologies of the 19Th Century: Music of the Renaissance Or Renaissance Music?

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Published Editions and Anthologies of the 19th Century: Music of the Renaissance or Renaissance Music?

Leeman L. Perkins

his essay represents an attempt to clarify – to whatever extent possible T– some of the ways in which the historical concept of a Renaissance was defined for music in the course of the 19th century. It takes as a point of de- parture a fundamental assumption and a matter of history. The assumption is that our understanding of the music of any given period is essentially dependent upon the repertory available for study. And the well-documented historical fact is that the 19th century was for Europe a period of growing historicism with respect to the music of its past. If one goes back as far as the late 15th century, music more than about 40 years old was not considered worth hearing – if the view of Johannes Tinctoris is in any way typical. By mid-16th century Heinrich Glarean had extended that interval to 70 years, but in the 16th and 17th centuries generally there is little evidence of interest in music that was not in more or less current repertory, dating back at most a generation or so. Even in the 18th century, which saw the beginnings of serious historical research into the music of earlier periods typified in the work of authors such as Hawkins, Burney, and Forkel, the approach could be described as antiquarian in nature. The compositions surviving from earlier times were viewed largely as curious (and usually as rather crude) relics. By contrast the 19th century is characterized more and more by an interest in the compositions of previous periods as they actually sounded, as artistic creations with their own stylistic norms and valid esthetic appeal. Some works, at least, were beginning to be studied not merely in the abstract as vestiges of more primitive stages in the evolutionary discovery of tonality and the “laws” of harmony, but rather as products of highly developed contrapuntal skills, as music capable of moving “modern” listeners as well.

— La Renaissance et sa musique au XIX siècle, éd. Philippe Vendrix, CESR, Tours, 2004, pp. 92-128 —

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Certain repertories began in fact to be viewed as warranting recovery, not just for the sake of history but as music deserving to be brought back to life in performance and reintegrated into the cultural, social, and even the religious life of the time. This was true of the vocal polyphony – in particular the sacred polyphony – of the 15th and 16th centuries, especially of the late 16th century, and the effect of this new perspective may be seen in the inclusion of such works in the programs of choral concerts, festivals, and workshops as well as liturgical services, and, no less clearly, in the growing number of publications intended to make the music available not simply for study but also – and perhaps even primarily – for performance. A typical, if unusually stellar, example of this kind of interest in the polyphony of the 16th century is that demonstrated by Anton Friedrich Justus Thibaut (1772-1840).¹ Thibaut, who may have heard Forkel lecture on music during his student days at the University of Göttingen, began early on to collect sacred vocal music and folksongs. In 1805 he settled in Heidelberg, where he had been named professor of Roman law at the University, and where – more importantly, for our purposes – he became in 1811 the director of an amateur chorus, the Heidelberger Singverein, which usually gave about four concerts a year featuring vocal polyphony from the 16th through the 18th centuries. Beginning in 1814 the Singverein met weekly in his house, where occasional visitors included such luminaries as Goethe, Tieck, Mendelssohn, and Schumann. During those years Thibaut continued to collect sacred vocal music suit- able for use by his chorus, sending some of his young friends to foreign lands at considerable expense to acquire works of interest. By this steady process of accretion his collection became one of the largest of its kind and attracted the attention of both Zelter and Kiesewetter. Thibaut made no attempt to dissemi- nate in printed form the works that had come thus into his hands. However, he did publish (in 1824) a book, Über die Reinheit der Tonkunst, which must have been widely influential at the time to judge from the numerous printings through which it passed in the course of the 19th century; the 7th edition appeared as late as 1893 with explanatory notes and a biography of the author. In this work Thibaut defined “purity” (Reinheit) in a variety of ways, but applied the notion principally to the vocal polyphony of the 16th through the 18th centuries – from Palestrina to Handel – repertory for which he proposed the term “classical,” not in an historical sense but on the basis of critical and esthetic judgments.

1 Concerning Thibaut, see Richard D. Green, The New Grove Dictionary of Music (hereafter New Grove), 18, pp. 766-67; also Willi Kahl, Die Musik in Geschichte und Gegenwart (hereafter MGG), 13, col. 333-34.

— La Renaissance et sa musique au XIX siècle, éd. Philippe Vendrix, CESR, Tours, 2004, pp. 92-128 — — La Renaissance et sa musique au XIX siècle, éd. Philippe Vendrix, CESR, Tours, 2004, pp. 92-128 —

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Thibaut’s immediate contemporary – and in a sense his French counterpart – was Alexandre Choron.² In 1805 Choron began to publish, in relatively in- expensive editions, the music of Josquin, Goudimel, Palestrina, and Carissimi, then that of Italian and German composers, going forward until the time of J.S. Bach (see below, Collected Editions and Musical Monuments, hereafter cemm, p. 23). Despite the political instability in France in the following decades, he was able to continue fostering an interest in these earlier repertories through the establishment in 1818 of an Institution Royale de Musique Classique et Religieuse. During the 1820s, before the school foundered for want of sufficient funding, Choron’s students joined with those of other institutions in choral festivals held at the cathedral of Notre-Dame in Paris, at the church of St. Sulpice, and at a number of provincial cathedrals as well. Included on the program for these events, in addition to more usual fare – oratorios of the baroque period and more contemporary repertoire – was the vocal polyphony of the 15th and 16th centuries. Choron’s editions were soon largely replaced by those of Commer, Rochlitz, Proske, and others, but for the time they were invaluable and much used. In addition, his impact on students, teachers, organists, and choral singers was apparently widespread. Among them was Adrien de La Fage (1805-62), who was first his pupil, then his assistant. Although de La Fage did not carry on Choron’s activities as a publisher of the vocal polyphony of the 16th century, he is remembered for his studies of the music and theory of earlier periods. These have reached the present in part through the publication of his Cours complet de plain-chant (Paris, 1855-56), Extraits du catalogue critique et raisonné d’une petite bibliothèque musicale (Rennes, 1857), and Essais de dipthérographie musicale (Paris, 1864). The latter two are particularly useful because of references to manuscripts and documents that have since been lost.³ The growing historicism in 19th-century Europe and the rediscovery of the vocal polyphony of the 15th and 16th centuries went hand-in-hand with another powerful movement of the time, Caecilianism, the attempt to reform the musical practices associated with the celebration of the liturgy in the Catholic Church.⁴ The origins of the Cecilian Societies can presumably be traced – in some sense at least – to the commission of cardinals appointed at the Council of Trent (1564/65) to consider the use of polyphonic music in the ritual observances of the church. Caecilian Societies were subsequently formed, apparently as a more or less direct consequence, in a number of important Catholic centers such as Vienna, Passau, and Munich – significantly, all of them in northern Europe.

2 Concerning Choron, see Arthur Hutchings, New Grove, 4, pp. 340-41. 3 Cf. Gustave Chouquet/Arthur Hutchings, New Grove, 10, pp. 356-57. 4 Concerning the Caecilian movement, see Winfried Kirsch, “Caecilianismus,” MGG (new edition), 2, col. 317-26.

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In 1868 the movement came of age institutionally with the founding, during the Katholikontag in Bamberg, of the Allgemeinen Cäcilien-Verein. That organization and its fundamental purposes were recognized two years later by a bull from Pope Pius IX (“Multum ad commovendis animos”). From its main centers in Germany, including Trier, Cologne, and especially Regensburg, the Caecilian Society spread in the 1880s to other nations: Belgium, Holland, Bohemia, Italy, Ireland, the USA, and later to Poland, Hungary, and France as well. The primary focus of this effort was of course the plainchant itself, which was regarded as the only “true” church music. Chant was seen as setting the standard for any other music used in a liturgical setting because of its adaptation to and its close association with the sacred texts; its declamatory power was thought to help make the words intoned clearer and more easily comprehensible. Early efforts at reforming the chant, such as those undertaken by Choron and La Fage in France and Pietro Alfieri in Rome (see below), were eventually superseded by the massive scholarly effort undertaken by the Benedictine monks of Solesmes. It became their mission to restore “Gregorian” chant to its presumed pristine purity on the basis of the earliest sources then still extant.⁵ As for polyphony, a distinction was drawn among works intended for liturgical use, those apt for devotional (but not liturgical) purposes, and religious compositions more appropriate for the concert hall; secular repertory was largely ignored. Liturgical polyphony, like the chant, was to focus on the text and to present it in an “objective” manner that would allow it to be readily understood. Such compositions had to conform to the time constraints of the customary ritual and to exemplify the esthetic criteria of simplicity, clarity, stylistic unity, and rhythmic tranquillity. Unaccompanied vocal polyphony was deemed to come closer to that ideal than any other type of sacred music. From the historicizing perspective of the 19th century this meant, first of all, the “classical” composers of the 16th century, to borrow Thibaut’s expression. Excluded from the imaginary Pantheon were those of the late 15th and early 16th century who indulged in seemingly autonomous counterpoint, that is compositional procedures characterized by mensural complexities, canonic conundrums, and other such artifices. (Hence the descriptive term “artificial” employed by Forkel and others). Also excluded, but at the other end of the chronological spectrum, was the affective monody of the 17th century. In the center was the so-called “Roman school,” especially as personified by Giovanni Pierluigi da Palestrina (1525/26-1594), who – thanks to the influential biography

5 See Eugene Cardine and Richard Sherr, “Solesmes,” New Grove, 17, pp. 452-54.

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of Baini (see below) – was widely seen at the time as the quasi-legendary savior of polyphonic church music. Early enthusiasm for Palestrina emanated from Rome, where in the 19th century the master’s polyphonic compositions were still being sung in the Sistine Chapel by the papal choir. Among the first to see Palestrina’s sacred music as the ideal was Pietro Alfieri (1801-1863), a Roman priest who wished to see liturgical music delivered “from what he saw as the debased theatrical style of contemporary composers and the neglect and incompetence of singers and organists.”⁶ This led him to a pioneering study of chant, which he hoped to see restored to its original purity. It also prompted him to champion the music of Palestrina, which conformed to his ideal for sacred music in being “grave, suc- cinct, and suited in expression to the words, which were to be presented clearly and with few repetitions.” In his Raccolta di musica sacra, of which there were 7 volumes (Rome: 1841-46), he published the first large modern collection of works by Palestrina (see cemm, p. 25). His labors in this connection undoubtedly helped to lay the groundwork for the “complete works” edited by Th. de Witt, F. Espagne, F. Commer, and F. X. Haberl (Leipzig, 1862-1903). It is surely worthy of note that this was one of the first such ventures to be initiated and virtually completed in the course of the 19th century. However, the widest dissemination of the concept of a Palestrinian ideal – as well as the most hyperbolic assessment of the composer’s stature – was undoubtedly due to Alfieri’s predecessor and mentor, Giuseppe Baini (1775-1844), whose two-volume biography of the 16th-century composer, Memorie storico-critiche della vita e delle opere di Giovanni Pierluigi da Palestrina, was first published in 1828.⁷ This was answered in 1832 by Carl Georg von Winterfeld’s critically complementary study, Johannes Pierluigi von Palestrina, seine Werke und deren Bedeutung für die Geschichte der Tonkunst, and followed in 1834 by a German translation of Baini’s monograph by Fr. S. Kandler that was published by Kiesewetter.⁸ At the time that Palestrina’s fame was being carried to German-speaking Europe in these works, editors in the same regions were beginning to publish in ever more substantial numbers the compositions of 15th and 16th century composers, including those of Palestrina and some of his most respected contemporaries. Some of this activity may be regarded as primarily scholarly or historical in character. One could so construe, for example, the collection published by Frie-

6 See Dennis Libby, “Alfieri,” New Grove, 1, p. 252. 7 There is a modern reprint from Georg Olms, Hildesheim, dated 1966. 8 See Otto Ursprung, “Baini,” MGG, 1, col. 1089-90.

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drich Rochlitz (1769-1842), whose multi-faceted career included half a century as the editor of the Allgemeine musikalische Zeitung (from 1798 on).⁹ His intentions are clear from his title: Sammlung vorzüglicher Gesang-Stücke vom Ursprung gesetzmässiger Harmonie bis auf die Neuzeit.¹⁰ Of the three volumes, published in Leipzig from 1838-40, the first contains works by Du Fay, Okeghem, Josquin, Lassus, Goud- imel, Morales, Tallis, and Senfl – a colorful mix – and the second compositions credited to Palestrina, Vittoria, Nanini, Anerio, (Andrea) Gabrieli, Walther, Gallus, Vulpius, Walliser, and Praetorius (see cemm, pp. 24-25). (The third is constituted primarily of works of 17th century composers.) Also didactic in nature, it would seem, are certain of the editions credited to Franz Commer (1813-87), who published more than 1,000 pieces of “classical” vocal polyphony in the course of his career.¹¹ His Collectio operum musicorum Batavorum saeculi xvi, which counted a total of twelve volumes between 1844 and 1858, may surely be seen in this light (see below, cemm, pp. 25-26). It is essentially an extensive anthology of composers identified as having originated in the Low Countries (that is the Batavia of his “batavorum”), and the inclusion of works by Palestrina and Victoria under such a title is something of a surprise. Similarly, the publication of selected works by Josquin, both sacred and secular, as vol. 6 in the series, Publikationen älterer praktischer und theoretischer Musikwerke was surely primarily an attempt – and a remarkably early one – to provide a brief overview of the genres and styles characteristic of that composer. By contrast, other of Commer’s editions appear to have been motivated to a greater extent by the goals and purposes of the Caecilian movement. This would appear to be the case for the series Musica sacra: Cantiones xvi, xvii saeculorum, whose four volumes contained only music on religious texts (some of them in fact liturgical). As indicated by the term cantiones in the title, which was undoubtedly borrowed from similar collections printed in the 16th century, the majority of these works were motets (see the brief sample below, cemm, p. 25). The same Caecilian orientation seems likely as well for the continuation of the series under the general title Selectio modorum. Volumes 5 through 13 were given over to sacred works by Lassus: Masses, motets, Magnificat settings, and Lieder of a religious character. The final segment of the series opened with volume 14, published in 1873, containing compositions by Hans Leo Hassler, and continued through volume 28 in 1887 with works by such late 16th-century figures as Anerio,

9 See Horst Leuchtmann, “Rochlitz,” New Grove, 16, pp. 83-4. 10 The even more suggestive French title was Collection de morceaux de chant, tirés des maîtres qui ont le plus contribué aux progrès de la musique et qui occupent un rang distingué dans l’histoire de cet art, choisis et arrangés chronologiquement. 11 Regarding Commer, see New Grove, 4, p. 591 (unsigned).

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(Andrea) Gabrieli, Gallus (Handl), Ingegnieri, Lassus, Marenzio, Mel, Monte, Senfl, and Wert, as well as a goodly number of 17th-century composers. Unlike Choron and de La Fage, whose interest in the vocal repertory of the 15th and 16th centuries was inextricably linked to their activities as church musicians and pedagogues, the enthusiasm of Joseph Napoleon Ney for the repertory in question found its expression almost entirely within the secular realm. Son of Napoleon’s celebrated marshal – le brave des braves – and after the latter’s death the second prince de la Moskowa, Joseph Ney, a composer of some talent, organized in Paris in 1843, together with the composer Adolphe Adam, a society to foster the performance of sacred vocal music from earlier centuries.¹² Their efforts resulted in a cycle of concerts underwritten by the noble ladies of the period and, even more significantly, a series of publications dedicated to the works performed in concert by those associated with the Société, the Recueil des morceaux de musique ancienne exécutés aux concerts de la Société de musique vocale religieuse et classique. This collection reached a total of 11 volumes comprising compositions, both sacred and secular, from the 15th through the 18th century (see below, the cemm, pp. 26-29).¹³ Although his activities appear to have been largely in the secular realm, Ney had significant contacts with the church musicians who were interested in reviv- ing the same repertory. Pupils of Choron performed a Mass of his composition in 1831, and he helped Louis Niedermeyer, the sous-directeur of the Société, to reopen the Institution royale, the school established earlier by Choron, as the École de musique religieuse classique.¹⁴ At the same time, however, his encouragement of the growing movement to foster the rediscovery and performance of the vocal polyphony of the 15th and 16th centuries may have pointed the way, in a sense, for the activities of Charles Bordes (1863-1909). Trained not only in composition but also as an organist and choirmaster, Bordes made his mark in Paris as maître de chapelle at the church of St. Gervais. There he organized in 1892 a recurring succession of services, the Semaines Saintes de St. Gervais for which the music sung by his choir, the Chanteurs de St. Ger-

12 See Gustave Chouquet, “Moskova,” New Grove, 12, p. 611. The Règlement for the Société – a series of 14 articles – was published in the first volume of the series under the signature of the sous-directeur, Louis Niedermeyer, the maîtres des classes de chant, and others. Among the “membres honoraires libres, formant le comité de perfec- tionnement attaché à la Société” are mentioned, in addition to Adolphe Adam, the composers Auber, Halévy, Meyerbeer, Onslow, Rossini, and Spontini. 13 Concerning the activities of the Société, see, Rémy Campos, La Renaissance introuvable ?, Paris, Klincksieck, 2000. I should like to thank Mr. Campos for drawing this series of publications to my attention, and Mr. Xavier Bou- vier, chief librarian at the Bibliothèque du Conservatoire in Geneva, for making available for study copies in the possession of his institution. 14 Concerning Niedermeyer, also a composer of some stature, see Guy Ferchault, New Grove, 13, pp. 221-22.

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vais, was by the best known French and Italian composers of the 15th and 16th centuries. Two years later, with the assistance of composers Alexandre Guilmant and Vincent d’Indy, he organized the Schola Cantorum, a society for sacred music that became a school for the revival of these earlier repertories. Subsequently, he established similar schools in Avignon (1899) and Montpellier (1905) and brought the vocal polyphony of composers such as Josquin, Palestrina, Las- sus, and Victoria to wider audiences by touring with his choir in the French provinces and in neighboring European countries.¹⁵ The presentation of such compositions in religious services and (possibly with the example of the Prince de la Moskowa in mind) in concert was accompanied and presumably sustained by a substantial series of publications under the title, Anthologie des maîtres religieux anciens (Paris: Schola Cantorum, 1893ff.), which included three volumes of Masses, two of motets, and – surprisingly, perhaps – a Chansonnier du XVIe siècle with polyphonic chansons by Claudin de Sermisy, Guillaume Costeley, Mathieu Gascongne, Clément Janequin, and Roland de Lassus (see cemm, p. 43). More than his earlier contemporaries in French-speaking Europe, Robert Julien van Maldeghem (1810-93) appears to have been animated by the ideals of the Caecilian movement. A church organist who had studied with Fétis at the Brussels Conservatory, he founded the Belgian Caecilia, a periodical concerned with sacred music. By contrast, his activity as a publisher of the vocal polyphony of the 15th and 16th centuries seems to have been motivated primarily by educa- tional and – perhaps even more so, given the political climate of the times – by nationalistic concerns. This is suggested, first of all, by the title of his ongoing series of publications: Trésor Musical: collection authentique de musique sacrée & profane des anciens maîtres belges. Between 1865 and 1893 he brought out two volumes a year, one of sacred music, the other of secular pieces, for a total of 618 compositions in all, most of them by composers who could be directly associated with the Low Countries (see cemm, p. 40).¹⁶ Much more in tune with the goals of the Caecilian movement, in fact clearly inspired by its ideals, were the four large volumes of sacred music edited by Carl Proske (1794-1861) in Regensburg between 1853 and 1886.¹⁷ What is merely implicit in the Musica Sacra edited by Commer is made unmistakably clear by Proske’s title: Musica divina sive Thesaurus concentum selectissimorum omni cultui divino totius anni juxta ritum sanctae ecclesiae catholicae inservientium. Proske’s intentions are equally

15 See Elaine Brody, “Bordes,” New Grove, 3, p. 45. 16 Concerning Maldeghem, see Patrick Peire, New Grove, 11, p. 569; also Gustave Reese, “Maldeghem and His Buried Treasure,” Notes 6 (1948-49), pp. 75-117. 17 Concerning Proske, see August Scharnagl, New Grove, 15, pp. 309-10; also MGG, 10, col. 1655-56.

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apparent from the manner in which he organized his materials (see below, cemm, p. 30). Beginning in volume one with a series of 10 settings for the Ordinary of the Mass and two for the Requiem, he continued in volume two with a large body of motets organized according to the liturgical season or specific feast for which they would be appropriate. This is followed in volume three by a collection of polyphonic compositions for Vespers: psalms, Magnificats, hymns, and settings of the four great Marian antiphons traditionally sung at Compline. The final volume of the series, although sub-titled Liber vespertinus, includes music for a variety of liturgical needs: settings of the Passion according to each of the four evangelists; the Lamentations of Jeremiah and the great responsories sung at Matins during Tenebrae services; a series of litanies; and various other works that could be used at Offices during Holy Week or on other important occasions. For his final publications Proske returned to the ordinary of the Mass with the Selectus novus missarum…, published in four fascicles between 1855 and 1861, each with four Masses (one of them a Requiem) for a total of sixteen. A wide variety of composers is represented in these collections, a circumstance that may have been dictated in part by Proske’s wish to provide appropriate vocal polyphony for all of the important liturgical observances of the yearly calendar. Still, the majority of them lived and worked during the second half of the 16th century. As might be expected, Palestrina has a prominent place in this repertory, but Victoria is certainly no less in evidence, and others, including Lassus, Andrea Gabrieli, Hassler, and a number of less-admired masters are also well represented. For the historians of music who were at work through this same period of the 19th century, one would be inclined to expect different criteria than those adopted by Proske, for example, in selecting works for discussion and, even more so, for illustrative anthologizing. Of those who focused for the first time with considerable emphasis on composers of the period from the late 15th through the 16th century, the most influential may have proven to be the two representative of what one could justifiable call the Viennese “school” of music history: Raphael Georg Kiesewetter (1773-1850) and his nephew, August Wilhelm Ambros (1816-1876). Kiesewetter, a singer of some accomplishment whose interest in the music of the past clearly extended to the practical realm, inaugurated in 1816 a series of four to six amateur concerts that were given yearly in his house until about 1845. Eventually, two of these featured music of historical interest, including vocal polyphony from the 16th through the 18th centuries.¹⁸ As a result of this

18 See Othmar Wessely, “Kiesewetter,” MGG, 7, col. 892-900.

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activity, Kiesewetter accumulated a rather sizable collection of music, including some important autographs and other manuscripts, which are inventoried in his Galerie der alten Contrapunctisten (Vienna, 1847).¹⁹ All of this material he later gave to the National Library in Vienna, where it provided a basis for some of the research undertaken by Ambros. As an historian Kiesewetter is perhaps best remembered for his prize-win- ning essay for the competition sponsored in 1828 by the Royal Belgian Institute of Sciences, Literature, and Fine Arts on the question: “What have been the contributions of the Netherlanders to musical composition, especially in the 14th, 15th, and 16th centuries?”²⁰ The essay is of particular interest to us here because it clearly provided the foundation for his pathbreaking history of Euro- pean music, which was published in 1834 (in Leipzig by Breitkopf und Härtel) under the descriptive title: Geschichte der europäischen-abendländischen oder unsrer heutigen Musik.²¹ Kiesewetter also conceived in this connection of a series of publications to illustrate through examples the history of western music. Unfortunately, he was never able to realize this extensive project,²² but he did append to his history a modest number of illustrative pieces, all of them polyphonic and, for the 15th century, all on sacred texts (see cemm, p. 23). His choices are instructive: a chanson by Adam de la Halle, a fragment of the Gloria from Machaut’s Mass, an anonymous (14th-century?) chanson (perhaps a virelai), then a series of short excerpts from the Mass repertory of the 15th century: three by Du Fay and one each by Eloy, Faugues, Okeghem, and Josquin. Although there are chapters in the book dealing with the “epochs” of Willaert and Palest- rina, no music by those composers, or by others of their respective generations, is offered in evidence, perhaps because the author believed that a representative selection was already available in the published collections cited above.

19 The didactic intent of Kiesewetter’s catalogue of his extensive collection of music from earlier periods is evident from his descriptive title: Galerie der alten Contrapunctisten: eine Auswahl aus ihren Werken, nach der Zeitfolge geordnet zu deutlicher Anschauung des Fortschreitens der Kunst; von den frühesten Versuchen har- monischer Verbindung bis zum Angang des achtzehnten Jahrhunderts und dem Aufblühen der neapolitanische Schule, als der Periode der neueren Musik. Alles in verständlichen Partituren aus dem Archiv alter Musik des k.k. Hofrathes… von ihm eigens zusammengestelt. 20 The topic of the competition was formulated as a “Verhandelingen over de vraag: Welke Verdiensten hebben zich de Nederlanders, vooral in de 14e, 15e, en 16e eeuw in het vak der Toonkunst verworven?” 21 An English translation by Robert Muller was published in 1848 as History of the Modern Music of Western Europe and reprinted in New York by the Da Capo Press in 1973. 22 The concept began to reach fruition only in 1894 when Guido Adler, who had submitted a memorandum to the Austrian government in 1888 proposing a Monumenta historiae musices, was finally able to initiate a series of editions with a rather more modest scope, the Denkmäler der Tonkunst in Oesterreich; see Rudolf von Ficker, “Adler,” MGG, 1, col. 85-88.

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Kiesewetter’s nephew Ambros, although trained professionally in law, was also a competent performer and a recognized composer.²³ Inspired by the fa- mous tract, Vom musikalische Schönen (1854), by Eduard Hanslick (a friend from his student days with whom he shared a young-romantic enthusiasm of a Schuman- nesque stamp) and the monograph, Die Musik des 19. Jahrhundert und ihre Pflege (1855) by A.B. Marx, he set out to establish a reputation of his own as an essayist with Die Grenzen der Musik und Poesie (1856). Perhaps as a consequence of the attention he attracted with this essay, he was commissioned soon after by the Leipzig publisher Constantin Sander (later, F.E.C. Leuckart) to write a general history of music. In preparation for this task he made a series of research trips to Italy (1861, 1865-66, 1866, and 1868) and did much work in addition in the rich librar- ies of Vienna and Munich. The fruits of these intensive labors, his Geschichte der Musik, was first published in three volumes between 1862 and 1868. Like Kiesewetter, whose lead he followed in several significant regards, as we shall see, Ambros planned an edition of musical examples to accompany his history, but, like his uncle’s, the project did not come to fruition in his lifetime. Only with the edition of 1882, “enlarged and enhanced” (vermehrte und verbesserte) as the expression goes – in this case posthumously – was there at last a collection of musical examples published with the history. They were compiled by Otto Kade (in a fifth volume), partly from pieces scored by Ambros, partly from those Kade had transcribed himself (see below, cemm, pp. 38-39). Significantly, although the book began with music in ancient Greece, covered that of the European West from “the earliest times,” and concluded with Monteverdi and the music of the 17th century, all 85 pieces included or excerpted in this collection were from the late 15th or early 16th century. The focus, then, for both authors, was the development of the kind of vocal polyphony that Thibaut termed “classical,” the style that was so admired by the leaders of the Caecilian movement that examples of it formed the bulk of the repertory published in their numerous editions. These Viennese historians were in fact attempting to trace the evolution of that style from its inception to its culmination in the sacred music of Palestrina and his immediate contemporaries, many of whom, including some of the most distinguished, were, like the Roman master himself, of Italian origins. Curiously, however – and this brings us to the problem posed by their writings, a dilemma that is both historical and historiographical – neither of them discusses this music in terms of the Renais- sance, whether understood as a cultural phenomenon or even, simply, as a more or less arbitrary period of history that followed upon the Middle Ages.

23 Concerning Ambros, see Friedrich Blume, MGG, 1, col. 408-13.

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Kiesewetter, in fact, makes no mention at all of the later period as such and refers to the Middle Ages only in passing. Instead, he pursues his historical narrative by “epochs,” identified each time by what he considers to be the leading figure. From the 14th century, whose guiding spirits he takes to be Marchettus and De Muris (largely in the absence, it must be said, of any substantial musical repertory upon which to base a judgment), he moves successively through the “epochs” whose musical style was dominated first by Du Fay (1380-1450), then by “Ockenheim” (1450-1480), Josquin (1480-1520), Willaert (1520-1560), and Palest- rina (1560-1600). Having thus surveyed the 15th and 16th centuries, he moves on to what he recognizes to be the very different styles of the 17th and 18th through discussion of the music of Monteverdi, Carissimi, Scarlatti, and later figures. Kiesewetter does take cognizance of the circumstance that the beginnings of what he regards as proper counterpoint came with the appearance of Du Fay toward the end of a period known as the Middle Ages. He observes that “music was that art in the family circle which first revived in the early period of the Middle Ages, and is therefore entitled to be considered as the eldest of the sisterhood,” but goes on to affirm that “[music] first reached the greatest perfection… at a period which is not exactly acknowledged to be that of a golden age, in respect to poetry, painting, architecture, etc.”²⁴ His emphasis, consistently, is on the role of the Netherlanders in the development of the musical culture of the period. He introduces the hero of his next epoch, Adrian Willaert, as “Among the Belgians, who were partly invited and came partly of their own accord to seek their fortune about his time in Italy,” explaining that he was a pupil of Mouton, “and therefore in the second degree from the school of Josquin” (p. 149). And, having mentioned a number of the other “Belgians” whose careers can be traced to Italy, he declared that they “enjoyed in this epoch, if not the monopoly, at least the supremacy, as regarded music, in Italy” (p. 151). French, English, and German composers of the period are also mentioned as significant figures, whereas for Italy attention is drawn primarily to the paucity of native-born masters. Kiesewetter declares that “At the beginning of this epoch Italy possessed only Costanzo Festa,” and he identifies a few others from up- per Italy as “generally speaking, merely beginners, springing from the Venetian school” (p. 154) that was for him the creation of Willaert. His chapter on the epoch of Palestrina opens with a review of the considerable biographical information that could be drawn from Baini’s massive mono-

24 See the History of the Modern Music of Western Europe, trans. Robert Muller (London: 1848, reprint New York: Da Capo Press, 1973), “Epoch of Josquin,” p. 135.

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graph and a glowing appreciation of the composer’s musical style. Our author declares that although … in [Palestrina’s] works, every gradation of the contrapunctic art may be found, from the simplest species… through the stile familiare… to the most complicated canons…, he moves… in the fetters with which he apparently restricted himself… with a freedom and grace that never allow the restraint to be perceived; the fire of his genius… glows throughout… (pp. 170-71).

Moreover, he prefaces these remarks with the observation that “In his best works [Palestrina] finds it difficult to conceal his education in the school of the Netherlands, how much soever he may have elevated its style by his own originality” (p. 170). Never does Kiesewetter connect any of this with the Renaissance in Italy, which, in the traditional view, was reaching its apogee just at that time, nor is it mentioned later as he goes on to discuss the other composers of the so-called “Roman” school. Obviously, he got no help in this regard from Baini, who fails, similarly, to acknowledge any link between the compositional activity of his hero and the intellectual and cultural ferment of the period in which Palestrina had lived. In sketching his own brief history of vocal polyphony, Baini divides the period between the 14th century and the time of Palestrina into four epoche, using precisely the term that Kiesewetter was later to borrow.²⁵ He also identifies each of them, as Kiesewetter would, by their leading figure: Du Fay for the first, Okeghem for the second, Josquin for the third, and, for the last, Costanzo Festa who would prepare the ground for Palestrina. None of this is oriented by a concept of the Renaissance, however, but rather by the author’s excessive admiration for the object of his study. For example, although he acknowledges Josquin’s great fame as justified to a degree, Baini berates him in the most partisan of manners for his playful deployment of technical artifice, calling him “il più scherzevole compositore, che sia in tanti secoli apparso sulla faccia della terra,” and deploring his neglect of the meaning of the texts he set (p. 408). His inherent bias emerges even more clearly when he comes to speak of the composers who were directly contemporaneous with Palestrina. He dismisses Lassus, in particular, as “Flemish by birth, Flemish in style, sterile as to beautiful ideas, and lacking in soul and in fire,”²⁶ whereas his encomium for his hero goes on unceasingly, page after page.

25 See the Memorie storico-critiche della vita e delle opere di Giovanni Pierluigi da Palestrina, 2, pp. 387-423, especially p. 399ff. 26 See the Memorie storico-critiche, 2, p. 432, “Orlando di Lassus, fiammingo di nàscita, fiammingo di stile, sterile di bei concetti, privo di anima e di fuoco, e che con alcune messe e mottetti ad 8. voci di stil piano si usurpò l’eccessivo elogio: Lassum qui recreat orbem.”

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As for Kiesewetter, he closes the chapter on Palestrina with a discussion of the musicians from other regions who had also gained some historical distinction. First in line is Lassus, whom he introduces with the assertion that, “The Belgians had even in the epoch of Palestrina… a hand in the game, although their influence in foreign countries was visibly on the decline, owing to the strenuous opposition already given by able composers of other nations” (p. 175). Then come the French, the English, and the Germans of the late 16th century, but with only the briefest discussion, before Kiesewetter moves on to the in- novations of the 17th century. Ambros’ indebtedness to Kiesewetter’s model of music history is evident from the outset. After an initial volume concerned with the music of Greek antiquity and the “Orient,” he goes directly to what he calls European-western music (“Die Anfänge der europäisch abendländischen Musik”), borrowing the phrase directly, it would seem, from the title of his uncle’s work. This segment is primarily a discussion of the music that arose in the context of early Christianity and in the culture of western Europe in the course of Middle Ages. A second major section (Zweites Buch), entitled “The Development of Rule- bound (regulated?) Vocal Polyphony” (“Die Entwickelung des geregelten me- hrstimmigen Gesanges”) brings first a discussion of mensural music and of true (“eigentlich”) counterpoint, then a chapter on “The First Netherlandish School: Du Fay and His Age” (“Die erste niederländische Schule: Dufay und seine Zeit”). Here a brief narrative concerning musical practice as described in Boccacio’s Decameron leads to a description of the arrival and the increasing dominance of musicians from the Low Countries in both Italy and (with Okeghem) France. Not surprisingly, then, the first section of his Volume iii (“Erstes Buch”) announces “The Age of the Netherlanders” (“Die Zeit der Niederländer”). It is noteworthy that by the time Ambros’ history was published in 1868, Jakob Burckhardt’s widely disseminated and influential study of 1860, The civilization of the Renaissance in Italy,²⁷ had been in circulation for some years. This undoubtedly made it more difficult for Ambros to ignore the coincidences of time and place between cultural developments in “Renaissance” Italy and the developing musical style of the 16th century than had perhaps been the case for Kiesewetter. Ambros’ awareness of Burckhardt’s work, or at least of ongoing discussion of the concept of the Renaissance as a period in history, is suggested by the fact that his Volume iii was initially published under the subtitle, “Geschichte der

27 Die Kultur der Renaissance in Italien (Basel?: 1860), available in numerous English language editions; see the translation of S.G.C. Middlemore, based on the 15th edition of the German original, 2 vols., New York: Harper and Brothers, 1929; as a Harper Torchbook, 1958, etc.

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Musik im Zeitalter der Renaissance bis zu Palestrina” (“History of Music in the Age of the Renaissance until Palestrina”).²⁸ However, Burckhardt’s work could hardly be seen as forcing Ambros’ hand with regard to his discussion of the vocal polyphony of the 15th and 16th centuries. Burckhardt included in his study but one brief passage concerning music, which he begins with the assertion that “Musical composition down to the year 1500 was chiefly in the hands of the Flemish school, whose originality and artistic dexterity were greatly admired.” He then mentions Palestrina more or less in passing but quickly turns to the secular musical practices that were obviously his primary concern. He comments on the use of instruments and on the place of music making in such venues as the learned academies and the homes of the wealthy. His focus is on the role of music in the day-to-day life of Renaissance society rather than on the cultivation of vocal polyphony among the church choirs and court chapels of the peninsula or the development of the stylistic norms then already firmly associated with the music of Palestrina.”²⁹ Interestingly, by the third edition of Ambros’ study the “Zeitalter der Renais- sance” had disappeared from the title, leaving only “Die Zeit der Niederländer,” and the sole discussion of any substance that refers directly to the historical notion of a Renaissance comes in the opening pages of his Volume iii. Even there, however, the governing conception for his musical history of this period continues to follow the pattern established by Kiesewetter. Ambros initiates his discussion with the declaration that “the century from 1450 to 1550 truly deserves to be called the century of the Netherlanders.”³⁰ And while he allows that continuous common threads of theoretical instruction and compositional practice run through it, he suggests that it can be divided into three “epochs” designated by the names of their foremost representatives: Okeghem, Josquin, and Gombert. Ambros also posits a fourth epoch, that of Orlando Lasso, which coincides with the age of Palestrina during which, in his view, musical hegemony is assumed by the Italians (3: 3). Not that he denies every connection between the creative and social ferment of the Renaissance and developments in music; quite to the contrary, he asserts that the fifteenth century, “at once the conclusion of the Middle Ages and the beginning of the new age,” was a moment of rare intellectual excitement and,

28 See Friedrich Blume, Renaissance and Baroque Music: A Comprehensive Survey, trans M.D. Herter Norton, New York: W.W. Norton & Company, 1967, pp. 29-32. 29 See The civilization of the Renaissance in Italy, 2, pp. 385-88. 30 Geschichte der Musik, 3:3 (Dritte verbesserte und mit Nachträgen versehene Auflage, von Otto Kade), Leipzig: F.E.C. Leuckart, 1893. “Das Jahrhundert von 1450 bis 1550 verdient in der Musikgeschichte recht eigentlich den Namen des Jahrhunderts der Niederländer.”

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at the same time, of highly significant development for music.³¹ However, his characterization of the new trends is primarily a negative one. He emphasizes the fanciful excess, the irrational caprice, the colorful distraction that he sees reflected in all aspects of life, including, to a degree, the music of the period.³² One could easily conclude that even though Ambros was dazzled by the exuberant imagination and the enormous creative energy of the period, he was not entirely comfortable with what he regarded as characteristic of Italian society in the new age. There is further evidence of that in what follows. While recognizing that in Italy the 15th century can no longer be construed as belonging in any sense to the Middle Ages, he sees things much differently as far as Germany and France are concerned. He affirms that the Renaissance reached Germany only in the 16th century and even then largely in the form of scholarly humanistic endeavors. For France he deems the late 15th century as merely preparatory for the full- fledged importation of Italian Renaissance culture in the time of Francis I. And in the neighboring Netherlands he saw old values and old styles as even more entrenched and more decisive than in either France or Germany. It was Ambros’ opinion that because music in Italy remained the province of Netherlandish composers until virtually the end of the 16th century, their inherent conservatism was an impediment to the assimilation of music to the other arts being deployed in the new, ever more dramatic contexts of Italian culture – theatrical productions, festal processions, pantomimes, intermezzi, and the like – in which the cathartic effects of ancient Greek theater were being emulated and the vaunted powers of an unknown – and irretrievable – music were being sought. He likens the music of these oltremontani to a young vestal virgin (“priesterliche Jungfrau”), pure, strong, and virtuous, far too serious and also far too awkward (schwergliederich), to be able to plunge easily into such a charming cultural bacchanal.³³

31 Geschichte der Musik, 3:4, “Das fünfzehnte Jahrhundert, zugleich Abschluss des Mittelalters und Anfang der Neuzeit, bezeichnet in der Geschichte einen geistig sehr erregten Moment, und gerade in dieses Jahrhundert fällt auch eine höchst merkwürdige Entwickelung der Musik.” 32 Geschichte der Musik, 3:4, “Der Drang nach neuen Lebensformen, nach einer neuen Gestaltung der Dinge… äusserte sich in allen Kreisen des Lebens (bis selbst in die Tracht hinein) durch phantastische Überschwengli- chkeit, durch launenhafte Willkür, selbst durch bunte Zerfahrenheit; und es ist davon auch in der gleichzeiti- gen Musik etwas zu spüren.” 33 Geschichte der Music, 3:6, “In Italien hätte nun die Musik nothwendig schon damals in jene Bahnen einlenken müssen, auf welche sie um das Jahr 1600 gerieth, auf das Streben, die antike Musik, von deren Herrlichkeit man um so lebhafter träumte, je weniger man davon wirklich wusste, deren Wundersagen mit gläubiger Miene immer wieder nacherzählt wurden, unter ähnlichen Bedingungen und Modificationen ‘wiederaufleben’ zu machen wie die antike Baukunst; sie hätte schon damals die Gestalten der Göttersage singend, tanzend, und agirend auf die Schaubühne einführen müssen. Finden wir nun gleich bei den glänzenden Festzügen, den Festspielen zur Feier fürstlicher

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He does not see this as an unfortunate turn of events, however, but – quite to the contrary – as very healthy for the music of the period. In his view, the Netherlanders’ attachment to their own musical traditions made it possible for them to cultivate and to perfect their compositional skills in accordance with their own sober temperament, undisturbed by foreign influences. As a consequence they were able to do what he saw as essential for music at the time both in developing compositional techniques and in determining the direction of its stylistic evolution generally. He credits them with the creation of a genuine, authentic church music, building on the foundation of the sacred liturgical chant (and their own popular music) and thus bringing into existence by means of the most elevated of artistic principles highly refined musical compositions. By doing so, asserts Ambros, they assured for music in all ages to follow the full weight and worth of an artistic expression and saved it from the sad fate of being reduced in the secular atmosphere of festal celebration to something superficial and inane.³⁴ Renaissance Italy contributed to that development, in the eyes of our author, primarily through its creative influence. Under the southern sun, he wrote, the music of the Northerners gained unmistakably in scope, clarity, and taste and absorbed something of the warmth that has always energized and enlivened the arts in Italy. More importantly, they abandoned little by little much of their subtle artifice and intricate motivic play for a broader, more even and decorous

Vermählungen, den pantomimischen Tänzen und den Intermezzi recitirende Dramen die Mythologie in reichstem Masse mit hereingezogen und mit dem ganzen malerischen Sinne der Zeit und der Nation in Scene gesetzt: so fehlte es doch der Musik, um damit gleichen Schritt halten zu können, vorläufig noch an den entsprechenden Mitteln des Ausdrucks; sie war jedenfalls viel zu ernst und eigentlich auch noch viel zu schwergliederig, um sich in jenes liebenswürdige Geisterbacchanal so kurzweg stürzen zu können. Wenn sie nun aber rein, streng und keusch wie eine priesterliche Jungfrau in dem Treiben dasteht, so ist dieses wesentlich auf Rechnung des Umstandes zu setzen, dass sie auch in dem im vollen Stromme der Renaissance schwimmenden Italien von den Niederländern gepflegt wurde, die ihre heimische Kunst, wie ihre heimlische Denk- und Gefühlsweise, mit über die Alpen herübergebracht hatten.” 34 Geschichte der Music, 3:7, “Die herrschend gewordene Ansicht der Zeit, welche in Sachen der Musik die Nieder- länder obenan setzte, war jedenfalls für die Musik sehr heilsam. Sie machte es den niederländischen Meistern möglich, unbeirrt von fremden Einflüssen, nach eigener Sinnesweise die Tonkunst zu üben und auszubilden; und diese Ausbildung traf gerade das Rechte, wie es der Musik eben noth that, sowohl in ihrer constructiven Technik als in ihrer ganzen Richtung überhaupt. Indem die Niederländer auf der Grundlage des autorisi- erten gregorianischen Kirchengesanges eine echt kirchliche Kunstmusik schufen, indem sie den Schatz alter Kirchenmelodie (aber auch ihrer heimischen Volksmelodien) zur Schöpfung wirklicher, nach höheren Kun- stgesetzen gebildeter Kunstwerke verwertheten und den Schwerpunkt der Musik in die religiöse Tonkunst verlegten, bewahrten sie die Musik vor dem Geschicke, die Schule ihrer höheren Ausbildung bei den bunten, schnell zerplatzenden Seifenblasen jener Götteraufzüge, Tänze, und Feste suchen zu müssen. Sie sicherten so der Musik für alle Folgezeiten die volle Würde und das volle Gewicht einer Kunst, während sie in dem lachenden Festtreiben raschen Lebens- und Kunstgenusses unrettbar der Verflachung verfallen wäre.”

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rhythmic style. As he says, “the individual artifices of counterpoint gave way to a whole, great art of composition.”³⁵ Despite these attempts to explain the mutual influences of Netherlandish music and Italian Renaissance culture on one another, and somehow to reconcile them historically, Ambros’ observations reflect, I believe, an inherent tension in his historical narrative that stems at least in part from the “northern temperament.” On the one hand is his view of the exuberant atmosphere of the Italian Renaissance with its self-confident refinement of literature, art, and architecture as inspired by the primarily secular models of Greek and Roman antiquity. On the other is his intellectual and esthetic commitment to a style of vocal polyphony with deep roots in the medieval traditions of northern Europe. This was the music he had come to know not only through the efforts of Kiesewetter and other historians but also, and perhaps more broadly, through the numerous editions of the music of the 15th and 16th centuries by French choirmasters, Caecilian sympathizers, and scholars of various stripes. It was music he admired above all for its grave, decorous appropriateness to the sacred uses for which it had been fashioned, and he saw its style as simply overlaid on the Italian culture of the Renaissance by historical accidents that even now we find difficult to explain. Ambros articulated this historical disjunction clearly, and he did not believe that it had been bridged by the refinements in the style of vocal polyphony that came at the hands of Palestrina and his contemporaries. He opined, rather, that Palestrina, “judging from his compositional manner, is a direct descendent of the (Franco)-Netherlandish school. That he made the works of the old Neth- erlanders an object of deep and diligent study is only too evident from his own [music]… [and] not the masters of the immediately preceding period… [but] Okeghem, Obrecht, and… Josquin.”³⁶ As he saw matters, moreover, as long as the northerners maintained their musical dominance in Italy with the sober vocal polyphony they had brought with them from their homelands, they were able to hold at bay the proclivity

35 See Geschichte der Musik, 3:7-8, “Italien aber übte auf seine Musiklehrer, die Niederländer, mit jenem wunderbar bildenden Einflusse, der diesem gelobten Lande der Künste eigen ist… ihre Musik gewann dort ganz unverk- ennbar an Mass, Klarheit, Geschmack und nahm etwas von den warmen, sonnigen Tone an, welcher von jeher die Kunst in Italien erwärmt und belebt hat… die abenteuerliche Mensuralnotenklitterung, die Stachelsätze… wurden immer seltener; das intricate Spitzengewebe kleiner, auf das Feinste ineindandergreifender Noten machte endlich der Schreibart in grösseren, ruhigeren, überschaulicheren Notengeltungen völlig Platz. Die einzelnen ‘Künste’ des Tonsatzes gingen allmälig in der einen, ganzen, grossen Kunst des Tonsatzes auf.” 36 See Geschichte der Musik, 4:27-28, “Seiner Schreibweise nach ist Palestrina ein direkter Abkömmling der (franzö- sisch)-niederländischen Schule. Dass er die Werke der älteren Niederländer zum Gegenstand eifriger und tiefer Studien gemacht, lehren seine eigenen nur Genüge… nicht die Meister der unmittelbar vorhergegangenen Peri- ode… er greift nach Okeghem und Hobrecht und… Josquin.”

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for rampant individualism that he apparently believed to be deeply rooted in the Italian character. Only at the end of that period, around 1600, did he see a resolution of the conflict between the conservative influence of the musicians trained in the Netherlands and the cultural tendencies of the Renaissance with the emergence of the new monodic style. This he viewed as the “artistic medium that brought artistically gifted individuality to the fore in direct opposition to the established style… the tardy offspring of the spirit of the new age, the age of the Renaissance.”³⁷ With these words Ambros gave expression to what can well be described as an historical and historiographical dilemma. The music of the “age of the Renaissance,” especially as idealized for Italy by Baini and in northern Europe by proponents of the Caecilian movement, was not at all viewed in the 19th century as Renaissance music, properly speaking. Rather it was seen as a culminating stage in the development of the medieval musical culture of northern Europe, specifically that of the Low Countries. For Ambros, as for Kiesewetter, the vocal polyphony of the 15th and 16th centuries was an unmistakable reflection of the ethnic character and serious temperament of the region that had produced its leading composers, however much tempered and warmed by the creative energy and artistic refinement of the Italian Renaissance. And in the disjunction between what was perceived as the serious, even solemn, style of the sacred polyphony of the 15th and 16th centuries and the brilliant secular civilization of Renaissance Italy, the sympathies of the Viennese historians clearly lay with the northern composers. Both authors seem to have vibrated to an intellectual and esthetic affinity with the Netherlanders in whose compositional mastery they could see the origins of the sophisticated contrapuntal skills that were in a sense the pride of the musical tradition of German-speaking regions in the 18th and 19th centuries. It was in the works of those northern-trained composers – rather than in those of the Italian masters who displaced them – that they appear to see the fons et origo of the style that would culminate, for them, not only in the contrapuntal tours de force of a Handel or a J.S. Bach but also in the musical achievements of the Viennese “classicists,” Haydn, Mozart, and Beethoven. It was, in other words, in the sacred music of the Netherlanders as idealized by the Caecilian

37 See Geschichte der Musik, 3:11, “So lange nun die Niederländer in Italien die musikalische Oberherrschaft behaupteten, herrschte mit ihnen auch jene Polyphonie, die sie aus ihrer Heimat mit herübergebracht, und drängte (sehr zum Heile der gesetzmässigen Festigung und Ausgestaltung der Musik) jene tief im italienischen Wesen begründete Neigung nach Individuellem einstweilen zurück. Erst gegen 1600 erhob sich dort die Monodie als das künstlerische Mittel, das musikalisch kustbegabte Individuum zur Geltung zu bringen, in offener Opposition gegen den bish- erigen Kunststyl. Sie ist die allerdings verspätete Geburt des Geistes der neuen Zeit, der Zeit der Renaissance…

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movement and concretized in the collections published primarily by northern editors, that they perceived the roots of their own musical culture. And their view of the “music of the Renaissance” – as opposed to what could be seen as Renaissance music – was very much colored by that perception.

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Collected editions and musical monuments

The publications listed here (in chronological order) represent only a partial inventory of the works brought back to light by the many 19th-century editions dedicated in whole or in part to the vocal polyphony of the 15th and 16th centuries. Contents have been listed in particular for those collections that are now rare and difficult to find.¹ For a fairly comprehensive bibliography, see Knud Jeppesen, MGG, 10, col. 702, who also cites related publications edited by G. v. Tucher (Vienna, 1827), S.W. Dehn (Berlin, 1838), Kiesewetter (Leipzig, 1841), and others.

Alexandre-Étienne Choron (1771-1834)

Anthologies such as Collection des pièces de musique religieuse (ca. 1830), including music by Josquin, Goudimel, Palestrina, and others. Paris: 1805-?.

Raphael Georg Kiesewetter (1773-1850)

– Geschichte der europäisch-abendländischen oder unsrer heutigen Musik. Leipzig: Breitkopf und Härtel, 1834.² – Supplément… containing the most ancient monuments of figured counterpoint

Tant con je vivrai Adam de la Hale Kyrie, Missa L’omme armé Dufay Gloria (fragment of the Mass) Machaut Kyrie, Agnus Dei, Missa Dixerunt discipuli Eloy Mais qu’il vous vienne a plaisance ? Kyrie, Missa L’omme armé Vincentius Faugues Non avra pieta Landini Kyrie, Missa ad omnem tonum Ockeghem or Kyrie, Missa Se la face ay pale Dufay Ockenheim Benedictus, Missa Ecce ancilla Domini Dufay Kyrie, Christe, Missa Gaudeamus Josquin des Pres

Friedrich Rochlitz (1769-1842)

Collection de morceaux de chant, tirés des maîtres qui ont le plus contribué aux progrès de la musique et qui occupent un rang distingué dans l’histoire de cet art, choisis et arrangés chronologiquement, 3 vols. Mainz: Schott, 1838-40 Volume 1: Kyrie & Christe Okeghem Kyrie Du Fay Hymnus Josquin Kyrie Du Fay Chant intermédiaire Josquin

1 I should like to thank Elizabeth Davis, Librarian of the Gabe M. Wiener Library of Music and Art of Co- lumbia University, for her assistance in drawing together the information included in this inventory for those few items that were not found complete in the holdings of the library. 2 The musical examples in Kiesewetter’s history were but a very small sample from the substantial number of compositions that he had collected and transcribed, as is evident from the catalogue he published in Vienna in 1847 of his holdings, which spanned the history of Western music from Hucbald, Guido, and Franco to composers of the 17th and 18th centuries: Galerie der alten Contrapunctisten (Ancient monuments of figured counterpoint).

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Motette Josquin Media vita in morte sumus Gallus Regina coeli Lasso Exultate Justi Vulpius Salve regina Lasso Surrexit Christus hodie (Ostergesang)Vulpius Weihnachts-Gesang Lasso Gaudent in coelis (Motette) Walliser Die Hauptstücke des 51ten Psalm Lasso Ecce Dominus veniet (Motette) Praetorius Motette psalm Claude Goudimel Volume 3: Kyrie & Christe C. de Morales Funeste piaggie Caccini Gloria C. de Morales Coro finale Caccini Psalm Motette Thomas Tallis Turbaluntur impii Giacomo Carissimi Motette mit Choral Ludwig Senfl Ardens est Deus propitius esto Ludwig Senfl cor meum (Motette) Giacomo Carissimi Nunc dimittis Ludwig Senfl O sacrum Volume 2: convivium (Motette) Giacomo Carissimi Adoramus te Palestrina Jephta Giacomo Carissimi Gloria Palestrina Sanctus Benevoli Pleni sunt coeli Palestrina Christe eleison Bernabei O bone Jesu Palestrina Alleluja Bernabei Improperia Palestrina Salve regina Bernabei Madrigale Palestrina Kyrie eleison Alessandro Scarlatti Lauda, anima mea (psalm) Palestrina Gloria patri Alessandro Scarlatti Stabat mater Nanini Vanum est Alessandro Scarlatti Exaudi nos Nanini Sanctus Alessandro Scarlatti Weihnachts-Gesang Nanini Agnus Dei Alessandro Scarlatti Jesu dulcis memoria Vittoria Salve Regina Caldara Hymnus Vittoria Agnus Dei (duetto) Caldara Adoramus te Anerio Qui tollis Caldara Christus factus est Anerio Stabat mater (quartetto) Astorga Miserere Anerio Fac me poenitentem flere (duetto) Astorga In ecclesiis benedicite Domino (hymnus)Gabrieli O quam tristis (terzetto) Astorga Benedictus Gabrieli Kyrie Durante Gesänge Böhmischer und Märischer Brüder: Regina angelorum Durante Morgenlied Requiem aeternam Durante Abendlied Domine Jesu Christe Durante Bittgesang Crucifixus Antonio Lotti Buss-Gesang Qui tollis Antonio Lotti Aeterno gratias Patri (Motette) Walther Crucifixus Antonio Lotti Gesänge Martin Luther: Der 44ste Psalm Marcello Zum Feste Maria Reinigung Et incarnatus est Marcello Nach dem 67ten Psalm Pater noster Hasler Adventslied Seelig sind die Todten Heinrich Schütz Osterlied Wer will die Auserwählten Osterlied Gottes Beschuldigen (Motette) Schütz Passionsgesang Gallus Was betrübst du dich, Adoramus te Gallus meine Seele (Psalm) Schütz

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Pietro Alfieri (1801-1863)

Raccolta di musica sacra, 7 vols.: I. Masses; II. Motets; III. Hymns; IV. Lamentations; V. Offertories; VI. Motets; VII. Magnificat settings. Rome: 1841-1846 (first large collection of works by Palestrina). Franz Alys Theodor Commer (1813-1887)³

Collectio operum musicorum Batavorum saeculi xvi, vols. i-xii. Berlin/Mainz, 1844-1858. Includes works by Arcadelt, Basiron, Buus, Canis, Certon, Claudin, Clemens non Papa, Crecquillon, Gombert, Jachet, Jannequin, Josquin, Lassus, Le Jeune, Kerl, Palestrina, and Victoria (together with later and lesser known composers).

Musica sacra: Cantiones xvi, xvii saeculorum, vols. i-iv. Berlin: 1839-1842. Primarily compositions by 17th and 18th-century composers, but with some from the 16th century, e.g.: Palestrina, Quo cunque pergis virginis (4 vv.) – vol. 2 Victoria, Popule meus (4 vv.) – responsorium – vol. 2 Palestrina, Nos autem gloriare (4 vv.) – vol. 3 Walter, Allein auf Gottes Wort (4 vv.) – vol. 3 Palestrina, O crux ave spes unica (4 vv.) – vol. 3 G. Gabrieli, Benedixisti Domine (7 vv.) – vol. 3 The series was continued under the following title: Selectio modorum ab Orlando di Lasso…, vols. v-xiii. Berlin: 1860-72. Lassus, Masses, Lieder, motets, Magnificat (4, 5, 6, 7, & 8 vv.)

Selectio modorum ab J. L. Hasler (4-9 vv.), vols. xiv-xxviii. Berlin/Regensburg: 1873-87. Primarily compositions by 17th-century composers, but included as well were a number of (mostly late) 16th-century figures: Anerio, Gabrieli, Gallus (Handl), Ingegnieri, Lassus, Marenzio, Mel, Monte, Senfl, Werte.

Josquin, Ausgewählte Kompositionen (4-6 vv.), Publikationen älterer praktischer und theoretischer Musikwerke, vol. 6. Berlin: 1877. Contents Missa L’homme armé super voces musicales Circumdederunt me (6vv. In nomine Jesu (6 vv.) = 2a pars, Christus mortuus est or Sic Deus) In illo tempore stetit Jesus (6 vv.) A custodia, matutina (?) Inviolata, integra et casta (5 vv.) Et ecce terrae motus factus est (?) Absalon fili mi (4 vv.) O benigna regina (?) Tribulatio et angustia invenerunt me (4 vv.) Ut collocet eum Dominus (?) Laudate pueri (4 vv.) Nymphes napees (6 vv.) De profundis clamavi (4 vv.) Incessament livré suis au martyre (5 vv.) O virgo genitrix (5 vv. = Plusieurs regretz) Plusieurs regrets (5 vv.) N’est-ce pas un grand deplaisir (5 vv.) Coeurs desolés de toutes nations (4 vv) Mille regrets de vous abandonner (4 vv.) In meinem Sinn (4 vv. = Entre je suis)

3 See Karl G. Fellerer, MGG, 2, col. 1583-88.

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Joseph Napoléon Ney, prince de la Moskowa (1803-1857)

Recueil des morceaux de musique ancienne exécutés aux concerts de la Société de musique vocale religieuse et classique, fondée à Paris en 1843. Paris: s.d.

Table du premier volume: 1. Giov. Pier. Luigi da Palestrina Messe à 6 voix dite du Pape Marcel 2. Palestrina Messe à 4 voix dite Aeterna Christi munera 3. Palestrina Stabat Mater dolorosa, antienne à deux choeurs (Se chante dans la Chapelle pontificale les Jeudi et Vendredi saints) 4. Palestrina Fratres ego enim, antienne à deux choeurs (Se chante le Jeudi Saint a Rome dans la chapelle pontificale) 5. Palestrina Adoramus te, Christe, motet à 4 voix 6. Palestrina Pleni sunt coeli à 3 7. Palestrina Alla riva del Tebro, madrigal à 4 voix

Table du deuxième volume: 8. Gregorio Allegri De lamentatione Jeremiae prophetae à 4 voix (Se chante dans la chapelle pontificale à Rome le Samedi Saint à Matines) 9. Gregorio Allegri Miserere à deux choeurs (Se chante dans la Chapelle Pontificale à Rome les Mercredi et Jeudi saints) 10. Orlande de Lassus Regina coeli à 4 voix 11. Orlande de Lassus Salve regina à 4 voix avec Choeur 12. Orlande de Lassus Miserere (à 5) 13. Cantique du matin (Chant des frères bohèmes ou moraves, 2e moitié du 15e siècle, traduction libre de l’Allemand) Cantique du soir Invocation des frères moraves 14. [Anon.] Alla trinità beata (Laudi spirituali du 15e siècle) 15. Arcadelt Ave Maria (maitre de Chapelle du Cardinal de Lorraine 1540), 16. T. L. da Vittoria Jesus dulcis, motet à 4 voix (Né à Séville en 1560) 17. Vittoria. Pueri hebroeorum, antienne - p. 256 18. Volckmar Leisring O filii et filiae, chant de Pâques à 2 choeurs 19. Alexandre Scarlatti. Cor mio, Madrigal à 5 voix de femmes 20. Jean Sébastien Bach Tantum ergo - p. 279 né à Eisenach en 1685

Table du troisième volume: consists entirely of works by composers of the 17th and 18th centuries: Stradella, Giovanni-Battista Clari, Benedetto Marcello, Handel, and Gluck.

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Table du quatrième volume: consists entirely of compositions by Bach (1) and Haydn (7).

Table du cinquième volume: 41. Josquin des Prez La déploration de Jéhan de Ockeghem, composée à l’occasion de sa mort par son élève 42. Clément Jannequin La bataille de Marignan, chant français à 4 voix 43. Orlande de Lassus Scais tu dir l’avé, chanson française 44. Orlande de Lassus Si le long temps à moy trop rigoureux, chanson à 4 voix 45. Orlande de Lassus Ce faux amour, chanson à 4 voix 46. Orlande de Lassus Fuyons tous d’amour le jeu, chanson à 4 voix 47. Orlande de Lassus Bonjour mon coeur, chanson française à 4 voix 48. Orlande de Lassus Le tems peut bien un beau teint effacer, chanson à 4 voix 49. Orlande de Lassus Je l’ayme bien, chanson à 4 voix 50. Orlande de Lassus Si vous n’etes en bon point, chanson 51. Orlande de Lassus Per pianto la mia carne si distilla, madrigal à 5 voix 52. Pavane à 4 voix Belle qui tiens ma vie, tirée de l’Orchésographie de Thoinot d’Arbeau 53. Palestrina Vaghi pensier, madrigal à 4 voix, paroles du Cardinal Bembo 54. Palestrina Là ver l’aurora, madrigal 55. Arcadelt Il bianco e dolce cigno, madrigal à 4 voix 56. Don Carlo Gesualdo, Prince de Venosa, Gelo ha madonna il seno, madrigal à 5 voix 57. Le Prince de Venosa Come esser suo, madrigal à 5 voix 58. Bendetto Marcello Strofa a tre bassi 59. Lotti venitien. Spirto di Dio, madrigal à 4 voix chanté sur le bucentaure à l’occasion du mariage des Doges avec la mer Adriatique

Table du sixième volume: 60. Andrea Gabrieli Magnificat à trois choeurs 61. Andrea Gabrieli Benedictus à 3 choeurs 62. Giov. Maria Nanini de Vallerano.Diffusa est gratia, motet à 4 voix 63. Orlande de Lassus Quia cinerum à 5 voix, des Psaumes de la Pénitence 64, Felice Anerio Ave regina coelorum, antienne à deux choeurs 65. Felice Anerio Adoramus, motet à 4 voix 66. Thomas Thalys Kyrie eleison à quatre voix 67. J. Haendl (surnommé Gallus) Media vita in morte sumus, motet à 2 choeurs 68. Gallus (Haendl) Adoramus à 6 voix 69. Gallus Ecce quomodo moritur justus, motet à 4 voix 70. Lupus Audivi vocem, motet à 6 voix 71. Vulpius Exultate justi, psaume à 4 voix 72. Vittoria O vos omnes, motet à 4 voix 73. Vittoria Gloria patri à 6 voix 74. Dom Juan IV (roi de Portugal, 1615) Crux fidelis à 4 voix 75. Carissimi O felix anima, motet à 3 voix 76. Barbieri Veni de Libano sponsa, motet à 6 voix 77. Franceso Durante Christe eleison, de la Messe en ré mineur

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Table du septième volume: 78. Palestrina Tribularer si nescirem, antienne à 6 voix 79. Palestrina Agnus Dei, de la Messe à huit voix 80. Palestrina Populo meus quid fecisti, antienne à 2 choeurs (se chante à Rome le Samedi Saint dans la Chapelle Sixtine) 81. Palestrina Canite tuba in Sion, motet à 5 voix 82. Palestrina Vinea mea electa, répons à 4 voix (se chante le Vendredi Saint dans la Chapelle Sixtine) 83. Palestrina Una hora non potuisti vigilare, répons à 4 voix (se chante à Rome le Vendredi Saint à l’Office des Ténèbres) Palestrina Velum templi scissum est, répons à 4 voix (se chante à Rome le Vendredi Saint) 84. Palestrina Tantum ergo, motet à 5 voix 85. Palestrina In monte Oliveti, répons à 4 voix Palestrina Tristis est anima mea, répons à 4 voix (se chante le Jeudi Saint à la chapelle Pontificale) 86. Palestrina Esurientes implevit bonis, motet à 5 voix 87. Palestrina Corporis mysterium, motet à 4 voix 88. Palestrina O bone Jesu, motet à 4 voix 89. Palestrina Sicut erat, motet à six voix 90. Palestrina Dei mater alma, motet à 4 voix 91. Palestrina Lauda anima mea Dominum, motet à 5 voix 92. Palestrina Hodie Christus natus est, Noè! Noè!, motet à 2 choeurs 93. Palestrina Gloria patri, à 2 choeurs

Table du huitième volume: consists entirely of compositions by Carissimi, Buononcini, Giovanni Paolo Colonna, Leonardo Leo, and Giovanni Battista Clari.

Table du [neuvième] volume: [100.] Palestrina Messe canonique [101.] Palestrina Messe de requiem à 5 voix [102.] Giov. Gabrieli Magnificat à 8 voix [103.] Giov. Gabrieli Miserere à 6 voix [104.] Giov. Gabrieli Beata es virgo, motet à 5 voix [105.] Orlande de Lassus De psalmis penitentialibus à 3 et à 4 voix

Table du dixième volume: 106. Palestrina Dies santificatus, motet à 4 voix 107. Palestrina Sicut cervus, motet à 4 voix 108. Palestrina Même morceau en la bémol à 4 voix 109. Palestrina. Laus honor virtus gloria, motet à 6 voix 110. Palestrina. Veni sponsa christi, motet à 4 voix 111. Vittoria O quam gloriosum, motet à 4 voix 112. Vittoria Vere languores, motet à 4 voix 113. Antonio Lotti Miserere à 4 voix 114. Antonio Lotti Benedictus à 4 voix

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115. Auteur inconnu Fragment d’un ancien Noël français à 5 voix 116. Eustache du Cauroy Noël, noël, choeur à 4 voix 117. Eustache du Cauroy Se questa valle di miseria, lodi spirituali du 16e siècle à 4 voix 118. Baldassare Donato Villote napolitaine à 4 voix 119. Gastoldi Viver lieto voglio, ballet à 5 voix

Table du onzième volume: 120. Benevoli Sanctus à 16 voix 121. A. Lotti Christe eleison à 5 voix 122. Carissimi Le Rudiment ou la déclinaison du pronom hic, haec, hoc à 4 voix 123. Clément Jennequin Le chant des oiseauîx à 4 voix 124. Orlando Gibbon Le Vieux chasseur, madrigal à 5 voix 125. Orlando Gibbon Le Croisé captif, madrigal à 5 voix 126. Maillart Tout au rebours, Canon par mouvement contraire à 5 voix 127. Andrea Gabrieli Sento un rumor, Choeur à 8 voix 128. Auteur inconnu A chi more per Dio, fragment d’un Madrigal spirituel à 4 voix 129. Luca Marenzio Ahi dispietata morte, Madrigal à 4 voix

Carl Proske (1794-1861) Musica divina sive Thesaurus concentum selectissimorum omni cultui divino totius anni juxta ritum sanctae ecclesiae catholicae inservientium. 4 vols. Regensburg: 1853-86 (R/1973) I. Liber missarum (1853): Missa brevis Palestrina Missa super Dixit Maria J. Leone Hasler Missa Iste confessor Palestrina Missa In nativitate Missa Dies sanctificatus Palestrina Domini Jos. Octavio Pitoni Missa octavi toni Lassus Missa Antonio Lotti Missa ad imitat. Moduli Missa pro defunctis Puisque j’ay perdu Lassus IV vocibus paribus Matthaeus Asola Missa quarti toni Victoria Missa pro defunctis Missa brevis A. Gabrieli quatuor vocum Jos. Octavio Pitoni

II. Liber motettorum (1855): Proprium de tempore De adventu Domini In festo nativitatis Domini Ad te Domine levavi Dies sanctificatus Palestrina animam meam Joa. Jos. Fux Hodie Christus natus est Giov. Maria Nanini Ecce concipies/ O magnum mysterium T. L. da Vittoria Super solium David Jacobus Handl Hodie nobis de coelo pax Costanzo Porta Obsecro Domine Jacobus Handl Natus est nobis Deus de Deo Jacobus Handl Cum audisset Joannes Manuel Cardoso Hodie Christus natus est Gregorio Turini Dicite pusillanimes Joa. Jos. Fux Egredietur virga/Radix Jesse Jacobus Handl In festo S. Stephanum protom[artyrum] De coelo veniet Jacobus Handl Lapidabant Stephanum Ave Maria D. Pompeo Canniciari (iii vocum) Giov. Maria Nanini

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Sepelierunt Stephanum Luca Marenzio Alleluja, Christus surrexit Felice Anerio In festo S. Joannis ap. et evang. Maria Magdalene Andrea Gabrieli His est beatissimus evangelista Christus resurgens (iii vocum) Orl. de Lassus (iii vocum) Giov. Maria Nanini Et respicientes viderunt Luca Marenzio Valde honorandus est Palestrina Dominicis past pascha usque ad Ascensionem In festo SS. Innocentium Domini Vox in rama audita estc Clemens non Papa Surrexit pastor bonus Palestrina Virtute magna reddebant In circumcisione Domini apostoli Giovanni Croce O admirabile commercium Fabio Costantini Lauda anima mea Dominum Greg. Aichinger Ecce Maria genuit nobis Cantate Domino canticum novum Greg. Turini (iii vocum) Rud. de Lasso Benedicite Gentes Orl. de Lassus In epiphania Domini In ascensione Domini Tribus miraculis Luca Marenzio O rex gloriae Luca Marenzio Ab oriente venerunt magi Jacobus Handl Ascendens Christus in altum Jac. Handl Dominicis post epiphaniam Omnes gentes Jubilate Deo Orl. de Lassus plaudite manibus Giov. Maria Casini Dextera Domini Orl. de Lassus In festo penticostes Dominica in septuagesima Loquebantur variis linguis apostoli Palestrina Ubi est Abel frater tuus? Veni sancte spiritus Gregorio Allegri (iii vocum) Greg. Aichinger Factus est repente de coelo sonus/Confirma Dominica in sexagesima hoc Deus Greg. Aichinger Exurge quare obbomis/ In festo SS. Trinitatis Exurge Domine Jac. de Kerle Te Deum patrem ingenitum Andrea Gabrieli Dominica in quinquagesima Tibi laus, tibi gloria Orl. de Lassus Benedictus es Domine Orl. de Lassus Benedicta sit sancta TrinitasAgostino Agazzari In quadragesima: a Feria IV. Cinerum ad In solemnitate Corporis Chrisi dominicam passionis O sacrum convivium Giovanni Croce Exaltabo te Domine Giovanni Croce O sacrum convivium Giuseppe Ant. Bernabei Angelis suis mandavit Manuel Cardoso Caro mea vere est cibus Andrea Gabrieli Meditabor in mandatis tuis Orl. de Lassus Ego sum panis vivus Alessandro Costantini Erat Jesus ejiciens Orazio Vecchi Ego sum panis vivus Paolo Agostini Laetatus sum Alessandro Scarlatti In voce exultationis Gius. Ottavio Pitoni Dominica de passione Ex altari tuo Domine Gius. Ottavio Pitoni Qui terrena triumphat/Qui manducat Eripe me de inimicis Orl. de Lassus hunc panem Gius. Ottavio Pitoni Confitebor tibi Domine Orl. de Lassus Transfige dulcissime Domine Jesu Dominica in palmis (in elevatione) Giovanni Biordi Pueri Hebraeorum Palestrina Domine, non sum dignus/Miserere mei Improperium expectavit Orl. de Lassus (in communione) Vittoria In coena Domini Dominicis post pentecostes Christus factus est Matteo Asola Duo seraphim/Tres sunt T. L. da Vittoria In parasceve Domine convertere et eripe Orl. de Lassus Popule meus T. L. da Vittoria Sperent in te omnes Orl. de Lassus Adoramus te Christe Greg. Aichinger Illumina oculos meos Orl. de Lassus Benedicam Dominum qui tribuit Orl. de Lassus Sabbat Sancto In te speravi Domine Orl. de Lassus Vespere autem sabbati Jacobus Handl Expectans expectavi Orl. de Lassus In resurrectione Domini Domine in auxilium Hac dies quam fecit Dominus Palestrina meum respice Orl. de Lassus Angelus autem Domini Felice Anerio Super flumina Babylonis Orl. de Lassus

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Proprium sanctorum In festo S. Andreae apostoli Vidi speciosam sicut columbam Felice Anerio Doctor bonus T. L. da Vittoria Sicut cedrus exaltata sum In festo S. Nicolai in Libano Felice Anerio Beatu Nicolaus incert. Assumpta est Maria (iii vocum) Greg. Aichinger In festo conceptionis B. Mariae Virginis In decollatione S. Joannis Baptistae Quam pulchri sunt gressus tui Palestrina Conceptio tua Luca Marenzio Misso Herodes spiculatore Palestrina Conceptio tua Constanzo Porta In nativitate B. Mariae Virginis In festo S. Thomae apostoli Nativitas gloriosae Quia vidisti me, Thoma J. Leo Hasler Virginis Mariae Luca Marenzio In festo SS. nominis Jesu Regali ex progenie Jac. Handl In nomine Jesu Jac. Handl Cum jucunditate Tommaso Bai O Jesu benignissime Rudolph de Lassus Felix namque es sacra Virgo Maria Guis. Ottavio Pitoni In festo purificationis B. V. Mariae In festo exaltationis S. crucis Senex puerum portabat T. L. da Vittoria Adoramus te Christe Palestrina Hodie beata virgo Maria Fabio Costantini Crux fidelis, inter omnes Felice Anerio In festo annuntiationis B. Mariae Virginis In dedicatione S. Michaelis archangeli Gabriel Angelus Luca Marenzio Princeps gloriosissime Palestrina Ne timeas Maria T. L. da Victoria Factum est silentium in coelo Felice Anerio Dixit Maria ad angelum J. Leo Hasler In festo SS. angelorum custodum In festo inventionis S. Crucis Omnes sancti angeli Nos autem gloriari Felice Anerio custodes nostri Greg. Aichinger In nativitate S. Joannis Baptistae In festo omnium sanctorum Fuit homo missus a Deo Palestrina Salvator mundi salva nos omnes Palestrina Joannes est nomen ejus Orl. de Lassus Angeli, archangeli Adrea Gabrieli In festo SS. apostolum Petri et Pauli Vidi turbam magnam Costanzo Porta Tu es Petrus/ O quam gloriosum Ego pro te rogvi Petre Clemens non Papa est regnum T. L. da Vittoria Quem dicunt homines Luca Marenzio O quam gloriosum est regnum Luca Marenzio Hodie Paulus Apostolus Luca Marenzio In festo S. Martini episc. et confess In festo visitationis B. Virginis Mariae O quantus luctus hominum Palestrina Beata es virgo Maria J. Leo Hasler O beatum pontificem Luca Marenzio In festo S. Mariae Magdalenae In festo presentationis B. Mariae Virginis Palestrina Mulier, quae erat Andrea Gabrieli Congratulamini mihi In festo S. Laurentii martyris In festo S. Caeciliae virg. et mart. Dum aurora finem daret Palestrina Levita Laurentius Andrea Gabrieli Cantantibus organis Luca Marenzio In assumptione B. Mariae Virginis Triduanas a Domino Tommaso Bai Quae est ista Palestrina Commune Sanctorum In festis apostolorum et evangelistarum Honestum fecit illum Dominus Felice Anerio Isti sunt viri sancti Palestrina Desiderium animae ejus Felice Anerio Estote fortes in bello T. L. da Vittoria In festo plurimorum martyrum Tollite jugum meum super vos Andrea Gabrieli Gaudent in coelis animae Beati eritis Giovanni Croce sanctorum T. L. da Vittoria In festo unius martyris Laetamini in Domino Giov. Maria Nanini Beatus vir, qui suffert Istorum est enim tentationem Andrea Gabrieli regnum coelorum Claudio Casciolini Iste sanctus pro lege Dei sui T. L. da Vittoria

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In festo martyrum tempore paschali Serve bone et fidelis Tommaso Bai Filiae Jerusalem Andrea Gabrieli In festo abbatum In festo confessorum pontificum Intercessio nos, quaesumus Domine Incert. Ecce sacerdos magnus T. L. da Vittoria In festo virginum Sacerdos et pontifex Andrea Gabrieli Veni sponsa Christi Palestrina In festo summi pontificis Veni sponsa Christi T. L. da Vittoria Dum esset summus pontifex Luca Marenzio Veni sponsa Christi Andrea Gabrieli In festo doctorum ecclesiae In festo non virginum In medio ecclesiae aperuit os ejus Regnum mundi Felice Anerio (iii vocum) Giov. Fr. Brissio In dedicatione ecclesiae In festo confessorum non pontificum Exaudi Domine preces servi tui Palestrina Hic vir despiciens mundum T. L. da Vittoria O quam metuendus est T. L. da Vittoria Similabo eum viro sapienti Luca Marenzio Domum tuam Domine Jac. Handl Euge serve bone Orazio Vecchi

Appendix Motettorum (cuilibet tempori convenientium) Sicut cervus desiderat/Sitivit anima mea Voce mea Dominum clamavi Giovanni Croce ad Deum Palestrina Ego sum pauper et dolens Giovanni Croce Factus est Dominus firmamentum Benedicam Domino meum Orl. de Lassus in omni tempore Giovanni Croce Benedicam Dominum T. L. da Vittoria Confitemini Domino quoniam bonus Ego dixi: Domine miserere Felice Anerio (iii vocum) Alessandro Costantini Cantate Domino canticum novum J. Leo Hasler Cantate Domino canticum Domine Deus, pater omnipotens J. Leo Hasler novum Gius. Ottavio Pitoni Gratias agimus tibi J. Leo Hasler Laudate Dominum Cantabo Domino in vita mea Orazio Vecchi in sanctis ejus Gius. Ottavio Pitoni Velociter exaudi me Orazio Vecchi Exultate Deo Exaudi Deus orationem meam Giovanni Croce adjutorio nostro Alessandro Scarlatti

(Total: 180 pieces, including both partes of motets in two sections)

III. Psalmodiam, Magnificat, hymnodiam, et antiphonas B. Mariae Virg. complectens (1859) Psalmodia vespertina: Falsibordoni Domine ad adjuvandum Tom. Lud. da Vittoria Laudate Dominum octavi toni Intonationes psalmorum Jos. Ant. Bernabei Intonationes cum psalmodiis Dixit Dominus primi toni omnium tonorum Caes. de Zachariis Dixit Dominus primi toni Domine ad adjuvandum (falsibordoni and ad aequales Confitebor primi toni in all 8 tones, plus mixti toni). Beatus vir primi toni Falsibordoni (v vocum) Confitebor secundi toni Ludovico Viadana (in all 8 tones) Beatus vir tertii toni Confitebor quarti toni Psalmodia modulata Laudate pueri quarti toni Domine ad adjuvandum Christoph. Demantius Laetatus sum quinti toni Deus in adjutorium Caes. de Zachariis Lauda Jerusalem sixti toni Psalmi quinque ad vesperas Didaco Ortiz Beatus vir septimi toni Dixit Dominus Laudate pueri septimi toni Confitebor Laudate Dominum septimi toni Beatus vir Credidi septimi toni Laudate pueri Laudate pueri octavi toni Laudate Dominum

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Psalmi ad quatuor Psalmi quatuor Incerto aequales voces Greg. Turino Dixit Dominus Dixit Dominus Confitebor Confitebor Beatus vir Beatus vir Laudate pueri Laudate pueri Psalmi aliqot variorum auctorum In exitu Israel Dixit Dominus R. Giovannelli Laetatus sum Laudate Dominum Ottav. Pitoni Nisi Dominus Laudate Dominum Incert. Lauda Jerusalem Nisi Dominus J. J. Fux Credidi Beati omnes J. J. Fux Beati omnes De profundis J. J. Fux Laudate Dominum Canticum Beatae Mariae Virginis: Magnificat Psalmi sex inediti Felice Anerio Magnificat octo tonorum Francisco Suriano Dixit Dominus Magnificat octo tonorum Orl. de Lasso Confitebor Beatus vir Magnificat aliquot variorum praestantissimorum Laudate pueri auctorum Laudate Dominum Magnificat octavi toni Palestrina Memento Domine David Magnificat primi toni Orl. de Lassus Magnificat octavi toni Morales Psalmi quatuor Bernardino Nanino Magnificat quinti toni Ortiz Dixit Dominus Magnificat Fel. Anerio Beatus vir Magnificat quarti toni Luca Marenzio Laudate pueri Magnificat Pitoni In convertendo Magnificat Fux

Hymnodia Vespertina Hymni praecipuarum solemnitatum Hymnus in nativitate Domini Hymnus in nativitate S. Joannis Baptistae Christe redemptor omnium Fel. Anerio [Ut queant.] Nuntius celso veniens Ortiz Hymnus in epiphania Domini Hymnus in festo SS. apostolorum Hostis Herodes impie Palestrina Petri et Pauli Hymnus in dominica passionis et festo [Aurea luce.] Janitor coeli Ortiz exaltationis S. crucis Hymnus in festo S. Michaelis Vexilla regis prodeunt Palestrina [Tibi Christi splendor.] Hymnus in ascensione Domini Collaudamus venerantes Incert. Jesu nostra redemptio Vittoria Hymnus in festo omnium sanctorum Hymnus in festo pentecostes Christe redemptor omnium Ortiz Veni creator spiritus Palestrina Hymnus in dedicatione ecclesiae Hymnus in festo SS. Trinitatis Urbs beata Jerusalem Vittoria O lux beata Trinitas Vittoria Hymnus in festis Beatae Mariae Virginis Hymnus in festo corporis Christi Ave Maris Stella 1 Vittoria Pange lingua 1 Vittoria Ave Maris Stella 2 Suriano Pange lingua 2 Pitoni Ave Maris Stella 3 J. L. Hasler Pange lingua 3 Casini Ave Maris Stella 4 Biordi

Antiphonae Beatissimae Mariae Virginis Antiphonae B. M. V. Francisco Suriano Salve regina Alma redemptoris mater Salve regina Ave regina Antiphonae B. M. V Fel. Anerio Regina coeli Alma redemptoris mater

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Ave regina Selectus singularum antiphonarum B. M. V. Regina coeli auctoribus diversis compositarum Salve regina Alma redemptoris/ Antiphonae B. M. V. Gregor. Aichinger Tu quae genuisti (paribus vocibus) Palestrina Alma redemptoris mater Alma redemptoris Fel. Anerio Ave regina Alma redemptoris Aichinger Regina coeli Ave regina Orl. de Lassus Salve regina Ave regina Cost. Porta Ave regina Aichinger Antiphonae B. M. V Ave regina Fux (trium vocum) Gregor. Aichinger Regina coeli/Resurrexit Ortiz Alma redemptoris mater Regina coeli C. Porta Ave regina Regina coeli Lotti Regina coeli/Resurrexit Salve regina/Et Jesum Orl. de Lassus Salve regina Salve regina Fel. Anerio Salve regina Aichinger IV. Liber vespertinus (1863) Selectus harmoniarum praecipuarum Officio hebdomadae sanctae inservientium Passio D. N. J. Cristi Feria VI. in parasceve sec. quatuor evangelistas Francisco Suriano Lectio prima: De lamentatione. Heth. Dominica in palmis: Passio sec. Matthaeum Cogitavit Feria tertia: Passio sec. Marcum Lectio secunda: Lamed. Matribus suis Feria quarta: Passio sec. Lucam dixerunt Feria sexta: Passio sec. Joannem Lectio tertia: Aleph. Ego vir videns Lamentationes Jeremiae prophetae Palestrina Sabato sancto Feria V. in coena Domini Lectio prima: De lamentatione. Heth. Lectio prima: Incipit lamentatio Misericordiae Lectio secunda: Vau. Et egressus est Lectio secunda: Aleph. Quomodo obscuratum Lectio tertia: Jod. Manum suam misit. est Lectio tertia: Incipit oratio Jeremiae Responsoria in triduo maj. heb. ad matutinum A. Harmoniae variorum auctorum Feria V. in coena Domini Resp. V. Tenebrae factae sunt Giov. Croce Resp. I. In monte Oliveti Giovanni Croce Resp. VI. Animam meam dilectam Annib. Zoilo Resp. II. Tristis est anima mea Resp. VII. Tradiderunt me in manus Resp. III. Ecce vidimus eum Ludovico Viadana Resp. VIII. Jesum tradidit impius Resp. IV. Amicus meus Lud. Viadana Resp. IX. Caligaverunt oculi mei Resp. V. Judas mercator pessimusAnnibale Zoilo Sabbato sancto Resp. VI. Unus ex discipulis Giovanni Croce Resp. I. Sicut ovis ad occisionem Lud. Viadana Resp. VII. Eram quasi Agnus Lud. Viadana Resp. II. Jerusalem surge, et exue te Resp. VIII. Una hora non potuistis Ferrario Resp. III. Plange quasi virgo Resp. IX. Seniores populi Lud. Viadana Resp. IV. Recessit pastor noster Handl Feria VI in parasceve Resp. V. O vos omnes, qui transitis Giov. Croce Resp. I. Omnes amici mei Resp. VI. Ecce quomodo moritur Jacobus Handl Resp. II. Velum templi scissum est Giov. Croce Resp. VII. Astiterunt reges terrae Annib. Zoilo Resp. III. Vinea mea electa Lud. Viadana Resp. VIII. Aestimatus sum Resp. IV. Tanquam ad latronem existisAnnib. Zoilo Resp. IX. Sepulto Domino Jacobus Handl B. Selectissimae modulationes – Th. L. de Victoria Feria V. in coena Domini Resp. VII. Eram quasi Agnus Resp. IV. Amicus meus Resp. VIII. Una hora non potuistis Resp. V. Judas mercator pessimus Resp. IX. Seniores populi Resp. VI. Unus ex discipulis

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Feria VI in parasceve Sabbato sancto Resp. IV. Tanquam ad latronem existis Resp. IV. Recessit pastor noster Resp. V. Tenebrae facta sunt Resp. V. O vos omnes, qui transitis Resp. VI. Animam meam dilectam Resp. VI. Ecce quomodo moritur Resp. VII. Tradiderunt me in manus Resp. VII. Astiterunt reges terrae Resp. VIII. Jesum tradidit impius Resp. VIII. Aestimatus sum Resp. IX. Caligaverunt oculi mei Resp. IX. Sepulto Domino Supplementum harmoniarum variis officiis hebdomadae sanctae inservientium

Miserere in falsobordone Palestrina Benedictus Palestrina Miserere in falsobordone Fabr. Dentice Benedictus Vittoria Miserere in falsobordone G. M. Nanini Benedictus Jac. Handl Miserere in falsobordone Lud. Viadana Benedictus octavi toni Did. Ortiz Miserere in falsobordone Christus factus est (I et II) Jac. Handl Miserere in falsobordone Christus factus est G. O. Pitoni Miserere Jac. Handl Improperia in adoratione crucis Palestrina Miserere Greg. Turini Improperia G. A. Bernabei Miserere Alex. Uttendal Adoramus (I et II) Franc. Rosselli Benedictus in falsobordone Giov. Guidetti Adoramus Orl. de Lasso Benedictus in falsobordone Adoramus Paolo Agostini Benedictus in falsobordone Adoramus Incert. II. Selectus litaniarum III. Selectus harmoniarum variis officiis Litania de B. M. V. (trium vocum) – Gr. Aichinger inservientium Litania – Orl. de Lasso Stabat mater (trium vocum) – Greg. Aichinger Litania – Joa. de Fossa Stabat mater – Agost. Agazzari Litania – Jac. Finetti Antiphona: Asperges me – Vittoria Litania – Agostino Agazzari Vidi aquam Litania – Giov. Biordi Pater noster – Leon. Paminger Litania – Greg. Zuchino Ave Maria – Vittoria Litania – Palestrina Te Deum – Fel. Anerio Litania de SS. Nomine Jesu – Georg. Victorinus Te Deum – Did. Ortiz Litania de omnibus sanctis – Orl. de Lasso Te Deum – Jac. Handl

Selectus novus missarum praestantissimorum superioris aevi auctorum… 4 vols. Regensburg: 1855-61 Pars I: Quatuor Missas IV. V. et VI vocibus decantandas (1855) Missa Veni sponsa Christi (quatuor vocum) – Palestrina Missa Hor le tue forze adopra (quatuor vocum) – Felice Anerio Missa Qual donna attende (quinque vocum) – Orl. de Lassus Missa Assumpta est Maria (sex vocum) – Palestrina Pars II: Quatuor Missas IV. VI. et VIII vocibus decantandas (1857) Missa Simile est regnum coelorum (quatuor vocum) – Vittoria Missa Vidi speciosam (sex vocum) – Vittoria Missa super voces musicales (sex vocum) – Francesco Soriano Missa (octo vocum) – Leo Hasler Pars I: Quatuor Missas IV. V. et VI vocibus decantandas (1861) Missa O quam gloriosum est regnum (quatuor vocum) – Vittoria Missa Si bona suscepimus (quinque vocum) – Paciotti Missa In die tribulationis (quinque vocum) – Orlandus de Lassus Missa Dum complerentur (sex vocum) – Palestrina Pars II: Quatuor Missas IV. V. VI. et VIII vocibus decantandas (1861) Missa Nos autem gloriari (quatuor vocum) – Francesco Soriano Missa Trahe me post te (quinque vocum) – Vittoria Missa Pater peccavi (six vocum) – Andreas Gabrielis Missa pro defunctis (octo vocum) – Orazio Vecchi

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Auguste Wilhelm Ambros (1816-1876)

Geschichte der Musik. 3 vols. Leipzig: 1862, 1864, 1868. Vol. 5: Auserwählte Tonwerke der berühmtesten Meister des 15. und 16. Jahrhunderts. Ein Beispielsam- mlung dem dritten Bande der Musikgeschichte von A. W. Ambros nach dessen unvollendet hinterlas- senem Notenmaterial⁴ mit zahlreichen Vermehrungen (Otto Kade). Leipzig: 1882.

Joannes Okeghem: Franciscus de Layolle Missa cujusvis toni: Sanctus, Benedictus, Qui Salve virgo singularis venit (A)5 Pia ad Deum precatio: Media vita in morte sumus Je nay deul (A) Antonius Fevin L’auter dantan Descende in hortum meum (A) Se ne pas jeulx Se vostre ceur Eleazar Genet, gen. Carpentras Fuga trium vocum in epidiatessaron (from Forkel) Lamentations, Libro II: excerpts Jacob Hobrecht Nicolaus Gombert Ave regina/Funde preces ad filium (A) Ave regina coelorum For seulement (A) Benedict Ducis Ohne text (= 3a pars, Salve regina [ii]) Es wollt uns Gott genedig sein La tortorella Vater unser im Himmelreich Se bien fait Aus tiefer Not schrei ich zu Dir Salve regina erbarm Dich mein o Herre Gott Josquin de Près An Wasserflüssen Babylon Stabat mater dolorosa (A) Henricus Finck Missa pange lingua Missa de beata virgine Jai bien cause Thomas Stoltzer Je say bien dire (A) Psalm 12: Hilf Herr, die Heylligen haben abgenommen Adieu mes amours Paulus Hoffheymer Scaramella va alla guerra Ach lieb mit leid Pierre de la Rue Ich hab heimlich ergeben mich Missa Tous les regres: Sanctus Mein traurens ist O salutaris hostia (A) Henricus Isaac Antonius Brumel Illumina oculos meos Missa festivale: excerpts Christus filius Dei (= Virgo prudentissima) Regina coeli (A) Virgo prudentissima Alexander Agricola Introitus: Puer natus est Comme femme (A) Introitus: Puer natus est (eine andre Fassung) Gaspar Alleluja: de nativitate Jesu Virgo Maria (A) Alleluja: de nativitate Jesu (eine andre Fassung) Alleluja: de circumcisione Domini Loyset Compère Donna di dentro/Fortuna d’un gran tempo Nous sommes de l’order de St. Babouin (A) Ohne text Johannes Ghiselin Ohne text La Alfonsina (A) Ohne text de Orto Mathes Greiter Ave Maria (A) Ich stund an einem Morgan Missa mi-mi: Agnus III (A) David Köler O dw edler brun der freuden

4 Ambros left in transcription more than 800 works dating from the 15th to the 18th centuries. 5 (A) indicates that the example was printed from a transcription by Ambros; all others were transcribed by Kade.

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Arnoldus de Bruck Thomas Walliser O du armer Judas (A) Deus noster refugium O allmächtiger Gott Seven frottole: (A) Ludwig Senfl Bartholomeus, organista de Florentia, Si talor Ave rosa sine spina/Dominus tecum (Comme femme) questa (A) Alexander Florentinus, ohne text Wol kumpt der Mai Franciscus de Layolle, ohne text Im Maien, im Maien Joh. Baptiste Zesso, E quando andarete Johann Walther Paulus Scotus, Fallace speranza Holdseliger meins Hertzen trost Francesco d’Ana, Nasce l’aspro Ein newes Christliches Lied Adrian Willaert Matthäus Le Maistre Pater noster (A) Hör Menschenkind Hans Leo von Hassler Schem dich du tropf, du hasts im kopf Herzlich lieb hab ich dich, o Herr/Es ist ja, Herr Antonius Scandellus Jacobus Gallus Missa super epitaphium Mauritii: excerpts Jerusalem gaude Nu komm der Heiden Heiland Laetentur coeli Der Wein, der schmeckt mir also wohl Bartolomeo Escobedo Bonzorno Madonna Introitus… : Exurge quare obdormis/Quoniam Rogier Michael humiliata est Ein feste Burg ist unser Gott Christophero Morales Leonhart Schroeter Sancte Antoni/O sancte Antoni Te Deum laudamus (German) (A total of 35 compositions, some of which count several pieces)

Robert Julien van Maldeghem (1810-1893)

Trésor musical. Collection authentique de musique sacrée et profane des anciens maîtres belges. Brussels: Librairie Européenne de C. Muquardt, 1865-93. For a complete annotated list of the nearly 600 compositions published in Maldeghem’s collection, with as many as possible of the mistaken attributions and similar errors corrected, see Gustave Reese, “Maldeghem and his Buried Treasure,” Notes 6 (1948-49), pp. 75-117; Reese’s study was also incorporated into the reprint of the collection done in 1965. The composers best represented (with 10 or more pieces) include the following: Benedictus Appenzeller; Jacques Arcadelt; Jean de Cleve; Thomas Crecquillon; Josquin Desprez; Nicolas Gombert; Jacob de Kerle; Pierre de la Rue; Orlando di Lasso; Claude le Jeune; Philippe de Monte; Andrea Pevernage; Franciscus Sale; Adrien Willaert.

Charles Bordes (1863-1909)

Anthologie des maîtres religieux anciens. Paris: Schola Cantorum, 1893-?. Livre des messes: première année 1. Giovanni Pierluigi da Palestrina Missa brevis - à 4 2. Tomas Luis da Vittoria Missa quarti toni - à 4 3. Giovanni Pierluigi da Palestrina Missa Ascendo ad Patrem - à 5 4. Tomas Luis da Vittoria Missa Ave maris stella - à 4 5. Roland de Lassus Missa Douce mémoire - à 4 6. Tomas Luis da Vittoria Missa pro defunctis - à 6 7. Giovanni Pierluigi da Palestrina Missa O regem coeli - à 4

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Livre des messes: deuxième année 8. Giovanni Pierluigi da Palestrina Missa Papae Marcelli - à 4 9. Claude Goudimel Missa Le bien que j’ay - à 4 10. Christophorus Morales Missa Quaeramus cum pastoribus - à 5 11. Tomas Luis da Vittoria Missa O quam gloriosum est regnum - à 4 12. Jacobus Kerle Missa Regina coeli - à 4 13. Roland de Lassus Missa pro defunctis - à 5 14. Francisco Guerrero Missa Puer qui natus est nobis - à 4 Livre des messes: troisième année 15. Francesco Suriano Missa Nos autem gloriari - à 4 16. Tomas Luis da Vittoria Missa pro defunctis - à 4 17. Antonio Lotti Missa à 3 voix égales 18. Giovanni Pierluigi da Palestrina Missa Salve regina - à 5 19. Giovanni Pierluigi da Palestrina Missa sine nomine - à 4 20. Elzéar Genet (dit Carpentras) Missa A l’ombre d’un buissonet - à 4 21. Giovanni Animuccia Missa Conditor alme siderum - à 4

Livre des motets: première année 1. Tomas Luis da Vittoria O quam gloriosum - à 4 2. Giovanni Pierluigi da Palestrina Peccantem me quotidie - à 5 3. Jacques Clemens [non Papa] Tu es Petrus - à 4 4. Tomas Luis da Vittoria O magnum mysterium - à 4 5. Giovanni Maria Nanini Hodie Christus natus est - à 4 6. Giovanni Pierluigi da Palestrina Coenantibus illis - à 5 7. Roland de Lassus Ego sum resurrectio et vita - à 3 8. Tomas Luis da Vittoria Trois repons (à 4) aux matines du Vendredi Saint, 2e Nocturne: Tanquam ad latronem existis; Tenebrae factae sunt; Animam meam dilectam 9. Josquin Desprez Christe immolate in crucis ara - à 4 10. Tomas Luis da Vittoria O vos omnes qui transitis per viam - à 4 11. Felice Anerio Christus factus est pro nobis - à 4 12. Giuseppe Corsi Adoremus te, Christe - à 4 13. Giovanni Pierluigi da Palestrina Trois repons (à 4) aux matines du Samedi Saint, 1re Nocturne: Sicut Ovis ad occisionem; Jerusalem surge; Plange quasi virgo, plebs mea 14. Giuseppe Ottavio Pitoni Christus factus est pro nobis - à 4 15. Tomas Luis da Vittoria Estote fortes in bello - à 4 16. Tomas Luis da Vittoria Dum complerentur dies pentecostes - à 5 17. Giovanni Maria Nanini Diffusa est gratia - à 4 18. Tomas Luis da Vittoria Trois repons (à 4) aux matines du Jeudi Saint, 3e Nocturne: Eram quasi agnus; Un hora non potuistis vigilare; Seniores populi consilium fecerunt 19. Andrea Gabrieli Angeli, archangeli - à 4 20. Josquin Desprez Ave Maria - à 4 21. Giovanni Pierluigi da Palestrina Trois repons (à 4) aux matines du Vendredi Saint, lre Nocturne: Omnes amici mei derelinquerunt me; Velum templi scissum est; Vinea mea electa 22. Tomas Luis da Vittoria Gaudent in coelis - à 4 23. Gregor Aichinger Factus est repente de coelo - à 4 24. Gregor Aichinger Assumpta est Maria - à 3 25. Tomas Luis da Vittoria Trois repons (à 4) aux matines du Vendredi Saint, 3ème Nocturne: Tradiderunt me in manus impiorum; Jesum tradidit impius; Caligaverunt oculi mei 26. Josquin Desprez Miserere mei, Deus - à 5 27. Giovanni Brissio In medio ecclesiae - à 3 28. Tomas Luis da Vittoria Trois repons (à 4) aux matines du Samedi Saint,

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2e Nocturne: Recessit pastor noster; O vos omnes qui transitis per viam; Ecce quomodo moritur Justus 29. Roland de Lassus Pulvis et umbra sumus - à 4 30. Gregor Aichinger Salve regina - à 4 31. Tomas Luis da Vittoria Trois repons (à 4) aux matines du Samedi Saint, 3e Nocturne: Astiturent reges terrae; Aestimatus sum cum descendentibus; Sepulto domino signatum est monumentum 32. Giovanni Pierluigi da Palestrina Exultate Deo - à 5 33. Tomas Luis da Vittoria Trois repons (à 4) aux matines du Jeudi Saint, 2e Nocturne: Amicus meus osculi; Judas mercator pessimus; Unus ex discipulis meis tradet me 34. Giovanni Pierluigi da Palestrina Alma redeptoris mater - à 4 35. Gregor Aichinger Ave regina - à 4 36. Tomas Luis da Vittoria Jesu dulcis - à 4 37. Gregor Aichinger Regina coeli - à 4 38. Tomas Luis da Vittoria Iste sanctus pro lege Dei - à 4 39. Andrea Gabrieli Sacerdos et pontifex - à 4 40. Giovanni Pierluigi da Palestrina Veni sponsa Christi - à 4 Livre des motets: deuxième année 41. Heinrich Schütz Verba mea auribus percipe - à 4 Quoniam ad te corabo - à 4 42. Tomas Luis da Vittoria Vere languores nostros - à 4 43. Jacques Clemens non Papa Beata es Maria - à 4 Ave Maria - à 4 44. Giovanni Pierluigi da Palestrina Recessit pastor noster - à 4 O vos omnes - à 4 Ecce quomodo moritur justus - à 4 45. Matteo Asola Christus factus est - à 4 46. Roland de Lassus Timor et tremor - à 6 47. Tomas Luis da Vittoria Domine, non sum dignus - à 4 48. Jean Richafort Christus resurgens - à 4 Mortuus est enim - à 4 49. Giovanni Pierluigi da Palestrina Stabat mater - à 8 (2 choeurs) 50. Giovanni Pierluigi da Palestrina Dextera Domini - à 4 51. Giovanni Pierluigi da Palestrina Ave Maria - à 4 52. Josquin Desprez Ave verum - à 2 et à 3 53. Giovanni Pierluigi da Palestrina Assumpta est Maria - à 6 Quae est ista - à 6 54. Roland de Lassus Nos qui sumus in hoc mundo - à 4 55. Jacques Clemens non Papa Beata es virgo Maria - à 4 Ave Maria - à 4 56. Roland de Lassus Pauper sum ego - à 4 57. Giovanni Pierluigi da Palestrina Loquebantur variis linguis - à 4 58. Tomas Luis da Vittoria Duo seraphim clamabant - à 4 59. Roland de Lassus Domine convertere - à 4 60. Tomas Luis da Vittoria Pange lingua, Nobis datus - à 4 Tantum ergo - à 4 61. Jacques Clemens non Papa Tristitia obsedit - à 4 Quid igitur faciam - à 4 62. Ludovicus Viadana O sacrum convivium - à 4 63. Psalmodieae vespertinae (choix de faux-bourdons des maîtres anciens) 1re série: Pour les dimanches et fêtes et le commun des saints - à 4 Carolus Andreas Dixit Dominus Ludovicus Viadana In exitu Israel de Aegypto Giov. Bat. Giudici Laudate Dominum, omnes gentes C. Zachariis Credidi, propter quod locutus sum

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Orpheus Vechius Domine, probasti me (pour les 2es Vêpres du commun des Apôtres et Evangelistes) Ludovicus Viadana Memento, Domine, David (pour les 2es Vêpres des Confesseurs, Pontifes et diverses fêtes) Carolus Andreas Magnificat 64. Giovanni Pierluigi da Palestrina O admirabile commercium - à 5 65. Roland de Lassus Psaumes de pénitence, I: Domine, ne in furore tuo - à 5 66. Roland de Lassus Psaumes de pénitence, II: Beati quorum remissae sunt - à 5 67. Tomas Luis da Vittoria Ecce sacredos magnus - à 4 68. Giovanni Pierluigi da Palestrina Congratulamini mihi - à 4 69. Psalmodieae vespertinae (choix de faux-bourdons des maîtres anciens) 2e série: Pour les vêpres de la Ste Vierge - à 4 Giov. Maria Nanini Dilexi (pour les Vêpres des Morts et les funérailles) Carolus Andreas Ad Dominum cum tribularer clamavi Giudetti Levavi oculos meos Ludovicus Viadana De profundis clamavi Ludovicus Viadana Confitebor tibi, Domine Ludovicus Viadana Magnificat (à 2 choeurs) 70. Tomas Luis da Vittoria Hic vir despiciens - à 4 71. Roland de Lassus Psaumes de pénitence, III: De profundis clamavi - à 5 72. Giovanni Pierluigi da Palestrina Tantum ergo - à 4 73. Psalmodieae vespertinae (choix de faux-bourdons des maîtres anciens) 3e série: Pour les vêpres des morts - à 4 Vincenzo Ruffi Dixit Dominus (pour les Vêpres de la T.S. Vierge et du commun des Vierges et Saintes femmes) Ludovicus Viadana Laetatus sum Carolus Andreas Lauda Jerusalem 73bis. Felice Anerio Ave maris stella - à 4 73ter. Carolus Andreas Magnificat (à 2 choeurs) 74. Andrea Gabrieli Filiae Jerusalem - à 4 75. Tomas Luis da Vittoria Popule meus - à 4

Chansonnier du XVIe Siècle. Paris: Schola Cantorum, s.d. Pierre Certon 11. Petite nymphe folastre - à 4 1. Je me tais et supplie - à 4 Roland de Lassus Claudin de Sermisy 12. Bonjour mon coeur, bonjour ma douce vie - à 4 2. Hau, hau, hau le boys - à 4 13. Ce faux amour d’arc et de flèches s’arme - à 4 3. Puisqu’en amour a si grand passe-temps - à 4 14. Fuyons tous d’amour le jeu - à 4 Guillaume Costeley 15. La nuit froide et sombre - à 4 4. Mignonne, allons voir si la rose - à 4 16. Las ! voulez-vous qu’une personne chante - à 4 5. Puisque ce beau mois - à 4 17. L’heureux amour qui s’eslève et honore - à 4 6. Si c’est un grief tourment - à 4 18. Or, sus, filles, que l’on me donne - à 4 7. Allons gay, gay, bergères (Noël en forme de 19. Quand mon mari vient de dehors - à 4 rondeau) - à 4 20. Si le long temps à moi trop rigoureux - à 4 21. Si vous n’estes en bon point - à 4 Gascongne 22. Soyons joyeux sur la plaisante verdure - à 4 8. Je ne saurais chanter ni rire - à 4 23. Un jour vis un foulon qui foulait - à 4 Clément Jannequin 24. Sauter, danser, faire des tours - à 4 9. Au joly jeu du pousse avant - à 4 25. Voicy du gai Printems - à 4 10. Ce moys de may, ma verte cotte vestiray - à 4 26. Le dieu Mars et l’amour sont parmy la campagne - à 4

— La Renaissance et sa musique au XIX siècle, éd. Philippe Vendrix, CESR, Tours, 2004, pp. 92-128 —

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